Long Shot
by Minxy
Summary: Broe. "It's easy now, when I look back (they call that retrospect). If I'd've known that night would have such a ripple effect, I might've been more likely just to let that sleeping dog lie...."
1. Resolution

Long Shot

by

Minx Trinket

Disclaimer: Like sands through the hourglass, so are our copyright infringements.

Rating: PG-13

Summary: The Minxy is Benevolent: she bringeth Brady and Chloë together. The Minxy is Cruel: she teareth them apart. The Minxy is Unknowable: you'll have to read it to see how it ends.

Notes on the Music:   
Most readers will recognize "O Holy Night." [The day after I wrote and first published this, I learned that there is a recording of Nadia Bjorlin singing this song out there somewhere. I'd appreciate any leads on where to find it.]   
Chloë's other song in Part I is "River" by Joni Mitchell, first recorded for her 1971 album _Blue_ and covered endlessly since. Snoop around, you'll find it.   
Shawn's brief ditty is Cole Porter's "Let's Do It (Let's Fall in Love)," though he obviously has a different definition of "it."   
To hear the Madama Butterfly aria, search for "Butterfly" at www.aria-database.com. Also, this is the aria heard in the background of Malcom McLaren's "Madame Butterfly," a dance hit from the 80s.   
The song "Long Shot," which also gives the series its title, is by Antigonë Rising. These folks were voted one of the "Top 10 Unsigned Bands" by VH1 last year. They, simply put, rock. Lyrics are available at www.antigonerising.com/longshot.html. The site has some of their MP3s too, though, sadly, not that song.   
The song in "Trials" is "Enjoy the Silence." Originally recorded by Depeche Mode, it's Tori Amos' acoustic cover that inspired its use.   
And if you don't know the Foo Fighters' "Everlong"...turn off the computer. Or at least turn on the radio once in a while.

PART I

RESOLUTION

FADE IN:

EXT. SALEM PARK - CHRISTMAS EVE - NIGHT

SHAWN, BELLE, BRADY, and CHLOË sit on a bench beneath the town Christmas tree, wondering up at the lights. Their eyes shine like little kids'. Shawn has his arm around Belle, who is snuggled happily against him. Brady's arm is on the bench behind Chloë, and she's leaning toward him, but you wouldn't call it a snuggle. A sparse parade of last-minute shoppers and strolling couples wander past. The kids are oblivious to them.

CHLOË  
Wow. It's beautiful, isn't it?

BRADY  
Yeah.

BELLE  
I love Christmas Eve. I love the trees and the  
lights and the snow and the cold and the  
snuggling....

She snuggles closer to Shawn.

SHAWN  
Looooooove the snuggling.

Brady and Chloë shoot each other an "Oh, please" look. Chloë shrugs and puts her head on Brady's shoulder. He grins and puts his arm around her -- casual, just friends, right?

BELLE  
There's one thing missing though.

BRADY  
Grilled cheese sandwiches.

Belle tosses a little snow at him.

BELLE  
No, Christmas carols.

SHAWN  
Ahhhhhhhhh....

BRADY  
That'd be your cue, Chlo'.

CHLOË  
Why's it my cue? I'm not the only one  
around here who sings, hint hint,   
nudge nudge.

BELLE  
Yeah, Brady. Why don't you give us  
a number?

SHAWN  
How 'bout a yodel?

BRADY  
Watch it, piano man.  
(to Chloë)  
Duet?

CHLOË  
You yodel?

BRADY  
Off topic. C'mon, pick a number, I'll join in.

Chloë sighs. She ponders for a minute, then starts in on "O Holy Night."

CHLOË  
(sings)  
O Holy Night,  
the stars are brightly shining.  
It is the night of the dear savior's birth.

Brady joins her, singing low harmony.

BRADY AND CHLOË  
(singing)  
Long lay the world  
in sin and error pining,  
'til He appeared and the soul felt its worth.  
A thrill of hope,  
a weary world rejoices,  
while yonder breaks  
a new and glorious morn.

Shawn and Belle look at each other. The sound is incredible. Chloë hits the high notes like a church bell. They finish the verse.

BRADY AND CHLOË  
(singing)  
Fall on your knees,  
O hear the angel voices.  
O night divine!   
O night when Christ was born!  
O night divine!   
O night! O holy night.

Shawn and Belle clap enthusiastically. So do a couple of passersby. Chloë blushes. Brady regards her proudly.

BELLE  
Encore! Encore!

SHAWN  
Bravo! Brava! Brav...ee!

CHLOË  
Thanks, guys.

BELLE  
I'm serious! Encore!

BRADY  
Yeah. Solo this time. Give us another.

CHLOË  
Guys....

BRADY  
(teasing)  
C'mon, do it. Everybody's doin' it! What  
are you, chicken?

He starts making chicken noises. She punches him lightly in the gut.

CHLOË  
Okay, okay. Sheesh.   
(beat)  
This is kind of a weird one, but, well....  
(singing)  
It's comin' on Christmas,  
they're cuttin' down trees,  
they're puttin' up reindeer   
and singin' songs of joy and peace.   
Oh I wish I had a river  
I could skate away on.   
But it don't snow here,   
it stays pretty green.   
I'm gonna make a lot of money,   
then I'm gonna quit this crazy scene.   
Oh I wish I had a river   
I could skate away on.   
I wish I had a river so long   
I could teach my feet to fly.   
I wish I had a river   
I could skate away on.   
I made my baby cry...

Brady's smile suddenly falters. Belle and Shawn notice and shoot each other "uh-oh" looks. Chloë doesn't notice and continues.

CHLOË (CONT'D)  
(singing)  
He tried hard to help me, you know,   
he put me at ease   
and loved me so naughty   
made me weak in my knees.   
Oh I wish I had --

Brady stands abruptly, practically spilling Chloë from the bench. He storms away.

CHLOË (CONT'D)  
Whoa! Brady! What the -- 

She follows.

SHAWN  
And so begins round ten.

BELLE  
Ding ding ding.

EXT. ELSEWHERE IN THE PARK - CONTINUOUS

Brady is stomping toward the exit. Chloë runs to catch up with him. She grabs his sleeve and turns him around.

CHLOË  
Okay, what did I do now, Brady?

BRADY  
What do you think?

CHLOË  
Honestly? Not a clue.

BRADY  
I just couldn't sit there and listen to that,  
listen to you sing about him like that.

CHLOË  
Huh?

BRADY  
Don't give me that. You were singing about Phillip!

CHLOË  
Okay, once again, "Huh?" What does Phillip  
have to do with --

BRADY  
Oh, come on. "I made my baby cry"?   
You know, I keep thinking, "Someday,  
Chloë's gonna get past it."  
But here you are, it's Christmas  
Eve, for cryin' out loud, we're having   
a good time, and then all of a sudden   
you're singing about him and being all  
weepy and guilty and --

CHLOË  
You think I was singing that about Phillip?!

BRADY  
Weren't you?

CHLOË  
No! Brady, that song is like a zillion years   
old or something. I learned it when I was six!  
I just like it, okay? Geez, I think you're the  
one with Phillip on the brain --

BRADY  
Oh you do?

CHLOË  
Well, you're the one who keeps --

Brady grabs her shoulders and KISSES HER, HARD. Chloë gasps and starts, wide-eyed, then melts into the kiss and puts her arms around him. He pulls her rougly up against him when suddenly -- 

They're apart. Brady shakes himself. It was all in his head. 

Chloë is still talking.

CHLOË  
-- don't believe me but Phillip didn't even   
cross my mind.  
(beat)  
It wasn't about him. I swear.  
(beat)  
Like it's your business if it was. But it  
wasn't.

Brady ponders this. She seems sincere. 

BRADY  
Sorry. I just assumed.

CHLOË  
Yeah, well, you know what that makes  
out of you and me, right?

Brady grins.

CHLOË (CONT'D)  
C'mon back to the tree. I wanna hear you  
yodel "The Twelve Days of Christmas."

BRADY  
Yeah. Just...gimmie a minute, okay?

She frowns suspiciously at him. He backs up toward some trees.

CHLOË  
Yeah, okay.

She goes. Brady turns and heads into the trees.

EXT. A PATCH OF WOODS - CONTINUOUS

Brady picks his way into the depths of the trees, leans back against one, and bangs his head against it a few times.

EXT. NEAR THE CHRISTMAS TREE - CONTINUOUS

Chloë finds Shawn and Belle where she left them. She sits beside them.

CHLOË  
(casually)  
Your brother is crazy.

BELLE  
(soto voce)  
About you.

CHLOË  
Hmm?

BELLE  
I said, "Is that news?"

CHLOË  
No. Just saying the status is still quo.

SHAWN  
Where did he go?

CHLOË  
I, um, think he heard the call of nature and  
is looking for a likely tree.

BELLE  
Huh?  
(gets it)  
Oh ew!

SHAWN  
Aw, you're just jealous 'cause you can't be  
like a bear in the woods and --

BELLE  
Shawn!

CHLOË  
Okay! Changing subject! Changing it quickly!  
Belle? What did you ask for for Christmas?

BELLE  
Thank you, Chloë.

SHAWN  
(singing)  
Bears do it! Bees do it!

The girls squeal in disgust and start pelting him with snow.

EXT. A PATCH OF WOODS - CONTINUOUS

Brady is trying to talk sense into himself.

BRADY  
Brady, Brady, Brady what the hell are  
you doing? This is getting ridiculous. She's  
not over him, and you're not over her not  
being over him. It's gotta stop. It's gotta stop.  
(beat)  
Okay, New Year's Resolution. Get over  
Chloë. That's what I'm gonna do.  
(beat)  
Of course, there's still about a week 'til  
New Year's....

He heads back toward the Christmas tree.

INT. HALLWAY OUTSIDE THE BLACK PENTHOUSE - LATER

Belle, Chloë, and Brady emerge from the elevator.

BELLE  
Okay, I'm gonna go in and shake the boxes  
under the tree. You coming Brady?

BRADY  
Yeah, in a minute, Tink.

BELLE  
(significantly)  
Ohhhh. Okayyyyyy. Good night, Chloë.

CHLOË  
'Night Belle.

BELLE  
Merry Christmas!

CHLOË  
Merry Christmas.

BELLE  
I'll be going inside now.

BRADY  
Good.

BELLE  
Yes. Yes, it is good.

Belle waggles her eyebrows at her brother and goes into the apartment, shutting the door behind her. Brady grins sheepishly at Chloë.

BRADY  
Strange girl.

CHLOË  
It's love. Addles the brain.

BRADY  
Uh, yeah.  
(beat)  
Sorry about before.

CHLOË  
Don't worry about it. I know it's just  
'cause you care. I can forgive you being  
a huge idiot 'cause I know you're just   
worried about me.

BRADY  
Can we forget it happened?

CHLOË  
Forget what?

Brady smiles, takes her hand, and kisses it. Chloë's face softens. So does the focus. Brady turns her hand over slowly and kisses the palm, and we know it's just a fantasy this time because there's misty light and the music swells as his kisses move down onto her wrist, then her inner arm. She reaches up and touches his face, then draws it down to her own.

They kiss, tenderly at first, then it builds swiftly to passion. Chloë is moaning quietly. Brady's arms are around her, drawing her in. 

BRADY (V.O.)  
Uh, Chloë?

We SMASH TO Chloë's startled face. She shakes herself a little. That was her fantasy!

Brady cocks his head at her. He jiggles her hand a little.

BRADY (CONT'D)  
Earth to Chlo'. You still with me, kid?

CHLOË  
Yeah! Yeah, sorry. Just spaced out for  
a second. I'm really tired.

BRADY  
Well, why don't you stay the night?  
(off her look)  
You and Belle can have a pajama party.

CHLOË  
No, it's Christmas Eve. You know,  
family and all that. I'd be in the way --

BRADY  
No you --

CHLOË  
-- and besides, Nancy'll pitch a fit if I'm  
not home by midnight.

BRADY  
Want me to call her and work the ol' Brady  
Black magic? Tell her you're too tired.  
Sleepy driving! Dangerous thing!

CHLOË  
I'm fine, Brady. Really. I should go home.

BRADY  
(beat; defeated)  
Yeah, okay.

She leans in and kisses him on the cheek. He kisses back. It lingers. They both feel it. Brady reaches up to stroke her hair, but before he can she pulls back. She walks away backwards, grinning at him, and reaches for the elevator button. 

He's grinning too. He's about to move toward her. 

The doors pop open. She backs into the elevator and hits the buttons. 

CHLOË  
Merry Christmas, Brady.

BRADY  
Merry Christmas, Beautiful.

She flashes him the full-on, electric Chloë smile as the doors slide closed.


	2. Snap

PART II

SNAP

INT. TUSCANY - NEW YEAR'S EVE - NIGHT

This is the party, as one would expect. Most of the town is present, including all of THE BLACKS, all of THE BRADIES, THE KIRIAKIS ENTOURAGE, a handful of HORTONS, and THE WESLEYS.

Chloë, NANCY, and CRAIG are sitting together at a table, and Chloë actually seems to be having fun. 

Across the room, at a table with VICTOR and NICOLE, PHILLIP watches her blankly.

Brady is whirling Belle around the dance floor. Shawn dodges through the other dancers and taps him on the shoulder. Without missing a beat, Brady spins his sister into Shawn's arms, and the new couple waltzes off. 

Brady glances at his watch. A quarter to midnight. He approaches the Wesleys' table.

BRADY  
Hello, Dr. and Mrs. Wesley. Chloë.

CHLOË  
(mock serious)  
Brady.

NANCY  
Oh, Brady! Don't you look handsome  
tonight! Not that you don't look handsome   
all the time, doesn't he, Chloë?

CHLOË  
(embarrassed)  
Nancy...

BRADY  
Thank you, Mrs. Wesley.

CRAIG  
Nancy, I don't think the boy came  
over here to discuss fashion. I believe  
he's here to take our Chloë for a turn  
around the dance floor, right Brady?

BRADY  
Yes, sir. Chlo'?

CHLOË  
Sure.  
(to her parents)  
Excuse me.

NANCY  
Go right ahead!

Brady leads her away. Nancy watches them fondly, until her gaze falls across Phillip, who watches the couple with that same blank stare. Nancy glowers at him.

NANCY (CONT'D)  
They shouldn't let his kind in here.

CRAIG  
Nance....

NANCY  
Little weasel. Little spoiled rich   
weasel. Daddy's money is the only  
reason anyone puts up with him.

CRAIG  
Nancy, could you let it go for just  
one night, please?

NANCY  
I just don't want him spoiling Chloë's evening!

Craig glances over his shoulder at Chloë and Brady dancing. They're laughing, having a ball, pretending to slam into Belle and Shawn.

CRAIG  
I don't think it'll be a problem, honey.

NANCY  
Oh, he's just biding his time, mark my   
words. Before the night is over he'll  
make a scene and she'll end up in tears.

CRAIG  
Nancy, let it go. It's New Year's Eve, Chloë  
is having a great time with Brady, and I don't  
want to spend the rest of the night talking  
about Phillip Kiriakis.  
(takes her hand)  
I want, instead, to take my beautiful  
wife out onto that floor, and I want  
to dance with her 'til the end of the year,  
and I want to kiss her at midnight. Okay?

NANCY  
(beat)  
Craig Wesley, you are one smooth talker.

CRAIG  
Well, I have to be.

He leads her out onto the floor.

INT. TUSCANY FOYER - LATER

MAGGIE glances up at the clock above the hostess' podium. It's three minutes to midnight. She enters the dining room.

EXT. TUSCANY VERANDA - CONTINUOUS

A breathless Brady and Chloë step out onto the veranda. Brady closes the French door behind him, but the latch doesn't catch and the door swings open about an inch. He doesn't notice, since he's fixated on Chloë.

BRADY  
Careful. It's kinda icy.

She waltzes over to the railing and looks over the edge. She pouts.

CHLOË  
Well, that's an awfully short way   
to the ground.

BRADY  
(looks)  
You were hoping for a nosebleed?

CHLOË  
Yeah! I wanted to get that whole Top-  
of-the-Eiffel-Tower vibe. This is more  
like...top of the slide at the playground.

BRADY  
Well, look up at the stars, then. Can't beat   
that view with a stick.

CHLOË  
(looks)  
Yeah. Whoa. Look at that! It's beautiful!

BRADY  
(looking at Chloë)  
Yeah, it is.

Chloë looks at him but he looks quickly at the stars. 

BRADY (CONT'D)  
So.

CHLOË  
So.

BRADY  
(beat)  
So....

CHLOË  
Y'know, all things considered, it hasn't  
been too bad a year.

BRADY  
All things considered.

CHLOË  
Yeah. I mean, I could've done without  
the naked pictures of me on the Internet.

BRADY  
I could've done without the spinal injury.

CHLOË  
Totally. Not to mention the jewel thieves.

BRADY  
That was less than fun.

CHLOË  
But there was some good stuff.  
(beat)  
Like you and me. Being friends.

BRADY  
Yeah.

They grin. She bumps into him. He bumps her back. They skid a little on the ice. They laugh while regaining their balance.

CHLOË  
Wanna know my New Year's Resolution?

BRADY  
Sure.

CHLOË  
I am resolved to totally get a grip on my  
priorities and...to start working on my  
singing again.

BRADY  
That's excellent, Chloë.

CHLOË  
You'll help, won't you?

BRADY  
Of course I will. But you don't need   
my help.

CHLOË  
Yeah I do. You know you're the only one  
who can get it out of me. The emotion in  
my voice? Zippo when you're not around.  
You're like a muse to me.

BRADY  
You're not gonna burst into a Madonna  
tune now are you?

CHLOË  
No. I'm just saying...I'm just saying...  
thanks. For believing. For just being there.

Brady can't speak. He nods and looks down at his shoes.

CHLOË  
So, you got a resolution?

BRADY  
Yup.

CHLOË  
Gonna tell me?

BRADY  
Nope.

CHLOË  
Why not?

BRADY  
It's kinda personal.

CHLOË  
All resolutions are personal, Brady.   
That's kinda the point.

BRADY  
Yeah, well, this one is the deep-dark-  
shameful-secret personal kind.

CHLOË  
Really? How intriguing. Okay, fine.  
I'm sure you'll tell me eventually.

BRADY  
Oh you are, are you?

CHLOË  
Yup.

They go back to pondering the stars.

O.S. we hear the sound of the voices inside chanting.

VOICES (O.S.)  
Nine! Eight! Seven!

CHLOË  
Oh my gosh! It's almost midnight! C'mon!

She grabs his hand to lead him back inside. 

Brady makes a quick decision and pulls her toward him instead. He puts his arms around her. She blinks at him in surprise. They look into each other's eyes...

VOICES (CONT'D; O.S.)  
Two! One! Zero!

...and he kisses her. 

VOICES (CONT'D; O.S.)  
Happy New Year!

...and slowly, reluctantly, the kiss breaks. Their eyes stay closed, foreheads pressed together. They're both breathing hard. Brady is shaking his head slowly in disbelief.

CHLOË  
Happy...um...New...something....

BRADY  
That resolution didn't last two seconds.

Before she can even say "Huh?" he is kissing her again. This is passionate and hungry now, months of longing welling up and bubbling over. 

CHLOË  
(between kisses)  
Oh...my...God...I...Brady....

BRADY  
(between kisses)  
Shhhh...no talk...just kiss....

Brady's kisses move down along her neck, and Chloë turns her face aside to expose the skin to him. Her eyes flutter open.

Phillip is two inches away.

CHLOË  
(screams)  
Phillip!

Brady looks up and gets A FIST in his face. HIS FEET slide on the icy floor and he TOPPLES BACKWARDS over the railing.

CHLOË (CONT'D)  
NO!

She reaches over the railing, trying to catch him, but Phillip spins her around and grabs her by the throat.

INT. TUSCANY - CONTINUOUS

The struggle is fully visible through the doors, but no one notices. 

Shawn and Belle are still kissing. John and Marlena waltz past.

JOHN  
Okay, you two. Time to come up for air.

They break the kiss, giggling.

EXT. VERANDA - CONTINUOUS

Phillip has both hands on Chloë's throat. He is squeezing. His voice is oddly calm.

PHILLIP  
'S'okay, Chloë, I gotcha. He's gone.

Chloë claws at his hands, but she can't get him off. Her eyes bulge. She struggles for breath.

PHILLIP (CONT'D)  
Brady won't hurt you. I promise.

Chloë tries kicking him but her feet slide on the ice. 

INT. TUSCANY - CONTINUOUS

Shawn and Belle are dancing again. Belle looks around curiously. 

BELLE  
I wonder where Chloë and Brady went.

The Wesleys waltz by.

NANCY  
(singsong)  
I saw them go out on the balcony, just  
before midnight....

SHAWN  
Well, that's a good sign.

BELLE  
Yeah, but....  
(beat)  
I don't see Phillip either.

SHAWN  
That's not a good sign.

EXT. VERANDA - CONTINUOUS

Chloë looks desperate. 

PHILLIP  
You look so pretty tonight, Chloë.

CHLOË  
(whisper)  
Please, Phillip....

PHILLIP  
So beautiful....

He moves in to kiss her. As his body draws close, she KNEES HIM IN THE CROTCH. Phillip howls in pain and releases her throat. She tries to run, but slips and falls. She scrambles to her feet, but Phillip grabs her by the hair. She tries to scream for help...

...but when she opens her mouth, there's no sound.

She lunges for the door.

INT. TUSCANY - CONTINUOUS

Belle leads Shawn off the dance floor.

BELLE  
I think we should find -- Oh my God!

Chloë and Phillip burst through the French doors and into the restaurant. The crowd gasps and stumbles back as they hit the ground. Phillip still has her hair. She kicks at him.

Belle and Shawn run at them to break it up. Shawn gets Phillip off Chloë and to his feet, while Belle drags Chloë away. Craig and Nancy push through the crowd to her.

Phillip struggles in Shawn's arms.

PHILLIP  
Chloë!

NANCY  
Keep him away from her!

PHILLIP  
No!

Phillip breaks from Shawn's grasp, but BO BURSTS from the crowd and TACKLES him. Father and son get him pinned to the ground.

Victor stands, horrified, but seems frozen in place.

Meanwhile, Craig is examining Chloë's neck.

BELLE  
Chloë, are you okay?!

CHLOË  
(whisper)  
Brady...pushed Brady...fell over....

JOHN  
He did what?

John dashes onto the veranda, Marlena close on his heels.

EXT. VERANDA - CONTINUOUS

John looks around.

JOHN  
(calling)  
Brady! BRADY!

He looks over the railing.

ANGLE ON Brady, who lies on the ground unconscious, his leg twisted under him.

JOHN (CONT'D)  
Oh my God!

John LEAPS over the railing. Marlena rushes over.

MARLENA  
John! What are you --  
(sees Brady)  
Oh no.  
(whips out cell phone; dials)  
Hello, this is Dr. Marlena Evans of University  
Hospital. I'm at Tuscany, and I've got two  
injured people here -- yes, right away -- yes,  
of course it's serious! -- and the police --   
yes, the police! -- an assault -- yes, thank you --  
and hurry!

She stashes the phone and runs back into the restaurant.

INT. TUSCANY - CONTINUOUS

NANCY  
Craig, she's not breathing right.

CRAIG  
I know. I think her trachea's partially  
collapsed. 

NANCY  
Oh, God! Craig! Do something!

CRAIG  
We gotta get her into Emergency and  
get her intubated.  
(to room)  
Somebody call an ambulance!  
(to Chloë)  
It's okay, honey. It's okay. You still  
getting some air?

Chloë nods. 

Marlena runs into the room and brushes past Belle toward the exit.

BELLE  
Mom, where's Brady?

MARLENA  
It's okay, honey. An ambulance is on  
its way.

BELLE  
Mom!

But Marlena is out the door.

Nancy kneels next to Belle and takes Chloë from her arms.

NANCY  
Go, honey.

BELLE  
Thank you, Mrs. Wesley.

She dashes after her mother. 

Chloë grabs desperately at Nancy. She is fighting to breathe.

CHLOË  
(whisper)  
Brady?

NANCY  
Dr. Evans is with him, honey. He's  
gonna be fine.

The paramedics and cops that Marlena called flood the room.

EXT. BENEATH THE VERANDA - MEANWHILE

John kneels by his son.

JOHN  
C'mon, c'mon son! Wake up!  
Speak to me, boy! Wake up!

Brady's head rolls, and he slowly comes around.

JOHN (CONT'D)  
Son!

BRADY  
Dad, where's Chl --

He winces and writhes in pain.

BRADY (CONT'D)  
Oh God!

JOHN  
It's okay. Lie still. Doc called an   
ambulance. It's on it's way.

BRADY  
My leg! Not again! Oh God, not   
again! Please --

JOHN  
Does it hurt?

BRADY  
Yes it hurts!

JOHN  
That's good! That's good! If you  
can still feel it, it's gonna be okay.   
It's not like last time. You're gonna  
be okay!

Marlena rushes up and kneels beside Brady's twisted leg.

JOHN (CONT'D)  
Doc --

MARLENA  
It's broken, but there's no blood, which  
means the bone didn't pierce the skin.

JOHN  
What does that --

MARLENA  
It's a good sign. He's not losing blood,  
and there's less chance of infection,   
but we still have to --

Belle comes running up.

BELLE  
Oh God, Brady!

JOHN  
Isabella, get back inside!

She ignores him and kneels beside her brother. 

BELLE  
Brady!

BRADY  
M'okay, Tink.

But he winces and gasps again.

MARLENA  
(to Belle)  
Is Dr. Wesley with Chloë?

BELLE  
Yes.  
(beat; quiet)  
She's having trouble breathing.

Brady tries to sit up. John forces him back down.

BRADY  
Chloë!

JOHN  
She's in good hands, son. The Wesleys  
are with her. You just think about  
you, okay?

BELLE  
It's okay, Brady. It's gonna be okay...  
(beat; to Marlena)  
...isn't it?


	3. Reverting

PART III

REVERTING

INT. UNIVERSITY HOSPITAL - PRIVATE ROOM - DAY

Brady lies in bed, leg in a cast and in traction, a few stitches over his eye. He's more-or-less out of pain, and he's in a fighting mood. He fiddles with a MAGAZINE, gets bored, and tosses it at the door, just as the door opens to reveal Chloë.

She looks at him, the magazine, and him again. She raises a disapproving eyebrow.

BRADY  
God, Chloë! Are you okay?

She nods and fingers the SCARF that is tied around her neck. Brady holds out his arms. With a strained smile, she comes over and takes his hands. She sits beside him. He brings her hands to his lips and kisses them.

BRADY (CONT'D)  
God, I was so scared for you. Nobody  
freakin' tells me anything around here.  
You're okay?

She nods again.

BRADY (CONT'D)  
And did they arrest that son of a   
bitch?

Chloë looks at him, shocked.

BRADY (CONT'D)  
Did they?

Nod.

BRADY (CONT'D)  
Good. I hope he rots.  
(off her look)  
Chloë, if he had really hurt you, I  
swear I would've killed the bastard,   
family or no family. He's a nut job, and  
they've got to lock him away before  
he does some serious damage -- 

Chloë looks away suddenly, tears welling up. Brady notices the scarf.

BRADY (CONT'D)  
Chlo'?

He reaches for the scarf. She jerks away, but not before he sees the horrible, black bruises ringing her neck.

BRADY (CONT'D)  
He did hurt you, that --  
(beat)  
Chloë, why aren't you talking?

INT. JAIL CELL - DAY

Phillip sits on his bunk, arms wrapped around his knees, rocking a little and mumbling to himself. Victor stands outside the cell, frowning.

VICTOR  
Phillip? It's me. It's your father.

Phillip continues rocking and humming.

VICTOR (CONT'D)  
Guard! I need to speak with Captain  
Bo Brady, right now.

INT. BRADY'S HOSPITAL ROOM - DAY

Chloë looks at Brady, unable to hide the tears now.

BRADY  
Chloë, why aren't you talking?

CHLOË  
(beat; whisper)  
Voice...gone.

BRADY  
(beat)  
But...it'll come back.

CHLOË  
(whisper)  
Doctors...don't know.

BRADY  
(beat)  
I'm gonna rip his heart out and  
feed it to him.  
(beat)  
Oh, Chlo'....

Chloë bursts into eerily silent sobbing. Brady grabs her, and she cries against his chest.

INT. BO BRADY'S OFFICE - DAY

Victor storms angrily into the office, a female uniformed cop (Officer METZ) following closely.

VICTOR  
Bo!

METZ  
I tried to stop him, sir.

BO  
That's okay, Metz. Hello Victor.

VICTOR  
I demand that you release Phillip  
immediately.

Bo nods at Metz, who leaves and closes the door behind her.

BO  
Victor, you know I can't let him go.

VICTOR  
I'm not talking about letting him go!  
I'm talking about getting my son to   
a hospital! Whatever happened out   
on that balcony has shattered him! He   
needs a doctor.

BO  
"Whatever happened"? Victor, he tried   
to kill Brady and Chloë Lane!

VICTOR  
You have no proof of that!

BO  
I have a room full of witnesses!   
Including you. Including me!

VICTOR  
All we saw was the end of the fight. We  
don't know who started it. It's Brady's  
word against Phillip's, and Brady didn't  
even see what happened between Phillip   
and Chloë.

BO  
No, he didn't, because PHILLIP PUSHED   
HIM OFF THE BALCONY! And Chloë,  
well, Chloë hasn't made a statement yet  
because, well, gee, I guess it's 'cause PHILLIP  
CRUSHED HER DAMN LARYNX!  
(beat)  
I am not letting him go. Bring a shrink in  
here if you want, but Phillip stays.

VICTOR  
He's your family.

BO  
So is Brady.   
(beat)  
Goodbye, Victor.

Victor glares, then turns and exits. Bo shakes his head in disbelief and returns to his paperwork.

INT. BRADY'S HOSPITAL ROOM - DAY

Chloë is down to sniffles now, still leaning on Brady.

BRADY  
So what if they don't know? What do   
they ever know anyway? Doctors. Huh.  
Remember what they told me? They told   
me I'd never walk again. Remember?

Chloë nods and sits up.

BRADY (CONT'D)  
Craig told me that. And he was wrong. I can  
walk, I can shoot hoops, I can even dance  
all night with a beautiful woman in my arms.

Chloë blushes, smiles, looks away.

BRADY (CONT'D)  
Thing is, though, I almost let them be right.  
I believed them. I was gonna give up. It was  
Belle that kicked my butt. You know what  
she said to me?  
(beat)  
She called me on it. The whole self-pity,  
poor-crippled-me act. And she told me that if  
I believed in myself I could do it.   
(beat)  
That's my Tink. She believes in fairies. And  
she believed in me. Well I believe in you.

Chloë squeezes his hand.

BRADY (CONT'D)  
I won't lie to you. It wasn't easy. In fact, it   
kinda sucked most of the time. And it took  
a long time. But Belle was there for me, and  
I'm gonna be there for you. And I will kick  
your butt if necessary.

CHLOË  
(whisper)  
Really?

BRADY  
Really.

He takes her face in his hands.

BRADY (CONT'D)  
I will always be there for you, Chlo'. I --

BRADY FLASHES ON shots of Phillip saying "I love you, Chloë," mostly in scary screaming stalker ways.

He stops himself from saying it.

BRADY (CONT'D)  
I promise.

CHLOË  
(whispers)  
Thank you.

Brady smiles and tries to pull her into a kiss, but she resists. He looks at her, concerned.

The door opens. Marlena steps in.

MARLENA  
Brady, has Chloë been -- oh, there you  
are, sweetheart. Dr. Wesley was looking for  
you. The specialist is here to take a look.

Chloë stands and heads for the door. Brady watches her, confused and heartbroken. Marlena catches his look. Their eyes meet. Brady glares back: a challenge. Marlena backs down. 

MARLENA (CONT'D)  
(to Brady)  
Your dad's on his way. He had to run  
to the office.

BRADY  
Yeah, okay. 

Marlena follows Chloë out the door.

Brady looks angrily around his empty room. He's got nothing to throw. He pounds the mattress.

BRADY  
Dammit!


	4. Ghosts

PART IV

GHOSTS

***  
_for Darin_  
***

BEGIN MOS

INT. BRADY'S ROOM - DAY

The curtains billow in the harsh February wind, which seeps through the barely open window. We hear MUSIC OVER: a scratchy recording of someone singing "Un bel dì vedremo" from Madama Butterfly, accompanied by a tinny, clumsy piano. Pan across the dim room to show CLOTHING and BOOKS scattered carelessly around, a BOOM BOX with the tape whirring doggedly inside, and, finally, Brady, wearing a leg brace over his jeans, sitting in a chair in the corner, brooding.

OVERLAP TO:

INT. SALEM JAIL - DAY

MUSIC CONTINUES OVER as KATE, led by an OFFICER and followed by a SUIT, storm down the hallway toward Phillip's cell. When they reach it, Kate grabs the bars and looks at her son.

Phillip smiles at her, as though all were right with the world.

OVERLAP TO:

INT. CLASSROOM - SALEM HIGH - DAY

MUSIC CONTINUES OVER as Belle, Shawn, Chloë, and assorted other STUDENTS, scratching away at the tests before them, look up at the sound of a bell we do not hear. Students trudge forward and hand the teacher their tests, then file out of the room. Last of all is Chloë, who smiles brightly at the teacher before leaving.

INT. HALLWAY - SALEM HIGH - CONTINUOUS

MUSIC CONTINUES OVER as Chloë emerges from the classroom and taps Belle on the shoulder. Belle kisses Shawn goodbye. Chloë and Shawn exchange cheerful waves, and Belle and Chloë walk off together. Chloë continues to smile.

OVERLAP TO:

INT. BRADY'S ROOM - DAY

MUSIC CONTINUES OVER as the aria comes to its close. Brady continues to stare into nothingness.

END MOS

CHLOË  
(on tape)  
Was that horrible?

BRADY  
(on tape)  
No, that sounded pretty good.

CHLOË  
(on tape)  
I think I coulda hit that last part a  
little harder. She should be all  
eager and excited there.

BRADY  
(on tape)  
Which? This?

On the tape, the piano notes start up again, and Brady's voice attempts to falsetto a couple of notes. 

CHLOË  
(on tape)  
Yeah, yeah, that. Can you pick it up  
from a few bars back? Right -- 

Brady leans forward abruptly and stops the tape. He pauses before he rewinds. Then he presses play, and now we know we are hearing the ghost of Chloë's voice drifting from the speakers. Brady Black is not the sort to cry, so he squeezes his eyes shut as he listens.

INT. BLACK LIVING ROOM - DAY

The MUSIC FADES as Belle and Chloë come through the front door. Belle takes off her coat and takes Chloë's from her. She disappears down the hallway. Chloë looks around aimlessly, dropping her purse on a table. Finally, she drifts up the stairs.

INT. UPSTAIRS HALLWAY - CONTINUOUS

Chloë is about to step into the bathroom when she stops. She glances suspiciously at Brady's door, which is open a few inches. She hears the music, but she can't quite make it out. She heads toward it, her smile finally faltering. She stands at the threshold, listening. 

THROUGH THE CRACK she watches Brady, whose face is in his hands. Then she recognizes her own voice.

Growing suddenly upset, she stumbles back and BUMPS INTO a table. A VASE falls to the floor with a dull THUD. 

Brady looks up. Their eyes meet. He struggles to his feet.

BRADY  
Chloë? Chloë, wait!

Chloë dashes away.

Brady swears as he follows.

INT. LIVING ROOM - CONTINUOUS

Chloë flies down the stairs and grabs her purse. Belle enters from the kitchen just in time to see Chloë run out the door and Brady come hobbling down the stairs after her.

BRADY  
Chloë, wait a minute, dammit!

BELLE  
Brady, what did you do now?

BRADY  
I didn't -- 

But Belle has already gone out the door. Brady stops halfway down the stairs and kicks the wall with his bad leg. He flinches in pain and curses again. 

INT. HALLWAY OUTSIDE THE BLACK PENTHOUSE - CONTINUOUS

Chloë is pushing the elevator button furiously. When she sees Belle emerge, she dashes for the stairway door. Belle grabs her arm to stop her.

BELLE  
Chloë, hold up.

Chloë shakes her head vehemently. She points to her watch.

BELLE (CONT'D)  
It's only four o'clock!

Chloë throws up her hands and reaches for the door again.

BELLE (CONT'D)  
Chloë, stop it. What did he say to you?

Chloë shakes her head. Her shoulders droop.

BELLE (CONT'D)  
Then why are you upset?

Chloë's charades become elaborate now: her throat, her ear, pointing at the door, etc.

BELLE (CONT'D)  
He was singing?  
(off her reaction)  
He was listening to something?  
Listening...oh. To you? A tape of you?

Chloë nods and slumps down the wall. Belle sits beside her. She thinks for a minute, then speaks carefully.

BELLE (CONT'D)  
He misses you.  
(beat)  
Not just your voice. I mean  
all of you.

Chloë's look says she misses him too.

BELLE (CONT'D)  
Then why don't you come on in  
and spend some time with him?

More head shaking. Belle looks troubled.

BELLE (CONT'D)  
There's something I've been wanting  
to ask you, but I was kinda scared to  
bring it up. Brady...he told me what  
happened just before Phillip -- did  
what he did. 

Chloë smiles uncomfortably.

BELLE (CONT'D)  
You're not mad at Brady for that, right?

Head shake. Belle scowls thoughtfully.

BELLE (CONT'D)  
And it was -- I can't believe I'm asking  
this about my own brother, but -- it  
was pretty good?

Chloë nods emphatically. 

BELLE (CONT'D)  
But nothing's happened since then.

Head shake.

BELLE (CONT'D)  
Well, why not? Are you just...not  
interested in him?

Chloë throws up her hands in frustration. She reaches into her purse and pulls out a small notepad and pen. She scribbles quickly and shows the pad to Belle. It reads: "I can't stop remembering."

BELLE (CONT'D)  
Remembering what?

She scribbles another note: "PHILLIP!"

BELLE (CONT'D)  
Kissing Brady reminds you of  
being with Phillip?

Chloë shakes her head furiously again, starts to write, then throws the pad down in frustration. Another series of gestures: she punches her left fist into her right palm, then makes a flipping, falling gesture with her right hand.

BELLE (CONT'D)  
Oh, God. You keep thinking of  
what Phillip did to him.

Crying now, Chloë nods.

BELLE (CONT'D)  
Chloë, Brady doesn't blame you  
for what happened!

Chloë pounds her chest: I blame me! Belle shakes her head sadly and touches Chloë's shoulder.

BELLE (CONT'D)  
You've gotta talk to him about this.

Chloë stands abruptly: No!

BELLE (CONT'D)  
But Brady thinks you hate him!

INT. PHILLIP'S CELL - DAY

Kate sits on the bunk beside Phillip, holding his hand. Every once in a while, she reaches up and smoothes his hair. The suit (BULLOCK), briefcase on his lap and legal pad on top, sits opposite, taking notes. Phillip, polite, friendly, poised, addresses him.

PHILLIP  
I wish I had a better memory of  
exactly what happened, Mr. Bullock.  
It was all so fast and so...scary. It's  
all messed up in my head.

BULLOCK  
Just tell me what you can, Phillip.  
I'll ask you questions if I don't  
understand something.

KATE  
Go ahead, honey.

PHILLIP  
Well, it was just before midnight,  
and everybody inside was gathering  
around and stuff, and I was looking  
for Chloë 'cause...well, because  
I was kinda hoping to kiss her at  
midnight. So I'm looking around  
and I see them outside. Brady's got  
her by the shoulders, and...and...

Phillip frowns now. He seems troubled. HE FLASHES ON BRADY leaning in to kiss Chloë, and her surprised face. He struggles to continue.

PHILLIP (CONT'D)  
He'd grabbed her, and she was  
trying to get away, but...

HE FLASHES ON THE KISS. He shakes himself, and then he sees it differently: Chloë struggling against Brady, Brady's hands on her throat.

PHILLIP (CONT'D)  
Suddenly he's just choking her.  
I didn't even think. I just ran out  
there and punched him right in the  
face. He let go of Chloë, he slipped,  
and he went over. Next thing I know  
Chloë and I are inside and everybody's  
screaming, and then the cops show up.

BULLOCK  
And that's all you know.

PHILLIP  
Yeah. That's all that happened.

Bullock sighs dramatically and puts away his pen.

BULLOCK  
Now, are you aware, Phillip, that  
Brady and Chloë are saying that  
you are the one who choked her?

PHILLIP  
(beat)  
Well, that's just crazy.

INT. BLACK LIVING ROOM - DAY

Brady sits at the bottom of the stairs, staring at the floor. He hears the door open and close. Without looking up, he addresses Belle.

BRADY  
So how pissed is she?

No response. Finally, Brady looks up.

Chloë smiles sheepishly at him. She waves.

BRADY (CONT'D)  
Oh, hey.  
(beat)  
I'm sorry, Chlo'.

Chloë sighs and sits beside him, elbows on knees, chin in hand. She regards him as he continues uncomfortably.

BRADY (CONT'D)  
I don't even know how to apologize for  
listening to that. All I can I say is that  
I didn't know you were there, which, instead  
of making me an insensitive jerk, it makes me  
a sneaky, insensitive jerk, which   
isn't any better, but the truth is I was   
just thinking about you and you haven't  
been around and I know you don't want  
to see me and that's okay, I get it, I do,  
but I was cleaning up and I found the  
tape and I just -- I didn't mean to upset  
you. I'll get rid of it, I will. I'm   
sorry. I'm so sorry.  
(beat)  
So...um...how've you been?

She smiles and shakes her head at him, amused. He misinterprets the gesture and looks down at his feet. 

Chloë touches his cheek. Brady, surprised, doesn't lift his head but watches her out of the corner of his eye. She runs the back of her fingers along his jaw, then takes his chin and turns his head to face her. 

She kisses him.

INT. PHILLIP'S CELL - DAY

Kate and Phillip are speaking in low tones, while Bullock, on his cell phone, stands outside the cell and out of earshot. Kate tries to comfort her son.

KATE  
Don't you worry about a thing. Mr.  
Bullock is a wonderful lawyer.   
We're going to get you out of here.

PHILLIP  
I'm not worried, Mom. I didn't do  
anything.

KATE  
Oh, my sweet boy. Do you have  
any idea how precious you are  
to me?

PHILLIP  
(embarrassed)  
Ma...

KATE  
I'm sorry. But it's true.

PHILLIP  
Yeah, I know. I'm so lucky to have  
you and Dad taking care of me.

Kate looks uncomfortable at this. Phillip doesn't notice.

PHILLIP (CONT'D)  
I can't wait to be back in the house,  
all three of us together, finally.  
I'm even more excited about that  
than I am about seeing Chloë again.

Kate has to turn away. Bullock catches her eye and frowns with concern.

PHILLIP (CONT'D)  
I can't wait to get...get...

Suddenly, Phillip SLAMS his shoulder into the wall behind him.

PHILLIP (CONT'D)  
Get out of HERE!

BULLOCK  
(alarmed)  
Guards! Guards!

Kate tries to calm Phillip, but he continues to scream and beat himself.

INT. LIVING ROOM - DAY

It takes Brady a moment to comprehend what is happening, but only a moment, before he kisses Chloë back. His hands hover in the air, as if he is afraid to touch her. She puts her arms around his neck. Finally, his arms twine around her and gently pull her close. 

But CHLOË FLASHES ON the fight on the balcony, Brady falling -- she pulls back and stands abruptly.

Brady stands unsteadily and reaches for her.

BRADY  
Whoa, where are you --

Chloë jumps back and pushes him away. Tears are welling again. She covers her face, shakes her head.

Then she looks up and mouths: I can't!

BRADY (CONT'D)  
You can't? Why can't you? You  
just were!

Backing away, she mouths: No, no...

Brady is having none of it. He grabs her as gently as his frustration allows.

BRADY (CONT'D)  
Chloë, I don't understand. One  
minute you're in my lap, the next   
you're across the room. What am  
I doing wrong?

She mouths: Not you.

BRADY (CONT'D)  
Then what?

She looks around for a moment, then spots a notepad by the phone. She points. He lets her go, and she picks it up and starts writing. Brady watches her impatiently.

She hands him the pad. He reads.

BRADY (CONT'D)  
"You'll just get hurt." What?  
By who?

She points to herself.

BRADY (CONT'D)  
Oh, so your evil twin has already  
come up with a sinister plan to  
destroy me? Come on!  
(off her look)  
Are you afraid of breaking my  
heart? 'Cause, Chloë, it's a little  
late for that.   
(beat)  
Every time I look at you I feel  
like I'm gonna die.

Chloë reacts badly to this, frowning and walking toward the windows.

BRADY (CONT'D)  
Aw, crap, Chloë, I didn't mean   
it like that. I...  
(beat)  
I should've said this before. I  
should've said this New Year's.  
Before New Year's. I was afraid  
I was gonna freak you out or -- or  
you'd just laugh in my face or   
something. But I should've said  
it and I'm saying it now.  
(beat)  
I love you.

Chloë whirls on him, furious. She charges him and rips the pad from his hands. She writes one word and shows him: DON'T.

BRADY (CONT'D)  
Why not?!

She writes: I'm not worth it.

BRADY (CONT'D)  
You know that's not true.

She writes: I'll hurt you. I HURT EVERYONE.

He tries to protest, but she starts writing frantically again.

She shows him: My fate to be alone.

BRADY (CONT'D)  
That's the stupidest thing I've  
ever heard.

She just shakes her head. She writes: I deserve it.

BRADY (CONT'D)  
What?!

She sighs and adds: Being punished.

BRADY (CONT'D)  
(softens)  
Oh, Chlo', how can you...what  
do you think you've done? What  
could you possibly have done?

Slowly, she writes one more thing and hands him the pad and pen: Don't know. Always am. Always will.

She walks slowly to the stairs to pick up her purse as he reads this. He looks at her, horrified, then throws the pad on the ground and grabs her, roughly this time.

BRADY (CONT'D)  
You're not going anywhere! This  
is totally nuts. No one is punishing  
you! You haven't done anything!

She struggles to escape his grasp. She beats his chest, mouths: Let go! Let go!

BRADY (CONT'D)  
I will not let you go! I will not  
give up on you, Chloë! And I will  
not let you give up on you.

Chloë is sobbing now, silently. She's still hitting him, not to escape now, just in blind fury. Silent screams emerge from her mouth. MUSIC FADES IN OVER ["Long Shot (Acoustic Mix)" by Antigonë Rising]. Brady hangs on.

BRADY (CONT'D)  
That's it! Go ahead! Beat the hell  
out of me! Break my ribs if you have  
to but you've got to get it out!

Chloë's blows grow weak, slow, and finally stop. Her head droops against his chest, and he rocks her as she cries silently in his arms.

BEGIN MOS 

INT. HALL OUTSIDE THE PENTHOUSE - CONTINUOUS

MUSIC CONTINUES OVER. Belle stands with her ear pressed against the door, listening to the commotion inside. She opens the door a crack to see if the coast is clear. THROUGH THE CRACK SHE SEES Brady half lead, half carry Chloë over to the couch. They sit down with their backs to her, and Belle slips quietly into the room.

INT. LIVING ROOM - CONTINUOUS

MUSIC CONTINUES OVER. Belle hesitates by the door, torn between helping her friend and giving them privacy. She watches them sadly as she tiptoes up the stairs and disappears.

On the couch, Chloë slumps over and lays her head in Brady's lap. She closes her eyes. Brady strokes her hair.

OVERLAP TO:

INT. SALEM JAIL - EVENING

MUSIC CONTINUES OVER. Kate stands outside the cell and clasps Phillip's hand through the bars. AN OFFICER standing behind her says something. She nods, smiles at her son, holding back tears, gives his hand one last squeeze, and follows the officer out of the room.

CU of the tears running down her cheeks.

OVERLAP TO:

INT. LIVING ROOM - EVENING

MUSIC CONTINUES OVER. CU of the tearstains on Chloë's sleeping face. Brady is lying behind her, arm wrapped protectively around her waist. He, too, is asleep.

OVERLAP TO:

INT. BRADY'S ROOM - CONTINUOUS

MUSIC CONTINUES OVER. Belle enters, picks her way through the mess on the floor, and goes to the tape deck. She pops Chloë's tape out of the machine and pockets it carefully, then leaves.

INT. BELLE'S ROOM - CONTINUOUS

Belle kneels beside her bed and pulls out A BOX from beneath. She opens it. It's full of photos and cards and buttons and other nostalgic junk. She puts the tape into the box and hides the box again.

MUSIC FADES as we END MOS and -- 

OVERLAP TO:

INT. SALEM PD LOBBY - EVENING

An exhausted Kate approaches Bullock, who is rooting through his briefcase. She gets straight to business.

KATE  
Well?

BULLOCK  
Your son seems sincerely to   
believe in his own innocence.  
(beat)  
But we both know he's guilty.  
(beat)  
I understand he's been seeing a  
psychiatrist since he was arrested.

KATE  
Yes.

BULLOCK  
I'll need to speak with the doctor.

KATE  
Of course. He's being treated by   
Marlena Evans. 

INT. LIVING ROOM - NIGHT

MARLENA enters the penthouse and puts her briefcase down on the table. She takes off her coat and starts for the kitchen, then stops as she passes the couch. She looks down.

Brady and Chloë are still curled up together, asleep. She regards them with that mixture of fondness and concern that is pure Marlena. She turns to go quietly on her way, but the PHONE RINGS. She dashes for it.

Brady, startled by the ring, wakes up. Chloë sleeps on.

MARLENA  
(softly)  
Hello?...Oh, hello, Nancy. Yes.  
Yes, Chloë's here....

Brady ignores the conversation behind him. He is far too enraptured by the girl in his arms. Her closeness is dizzying him. 

MARLENA (CONT'D)  
(softly)  
I just got in myself and found   
them....She and Brady are asleep   
on the couch....  
(chuckles)  
No, not like that....I'm sure she   
must be exhausted....

Brady touches Chloë's cheek, then runs his fingertips slowly down her neck, her shoulder, her arm, her hip, wanting, longing...

MARLENA (CONT'D)  
(softly)  
How are things going with the  
specialist?...Oh....Oh....Oh dear.

The concern in Marlena's voice finally catches Brady's attention. Frowning, he tries to sit up without waking Chloë.

MARLENA (CONT'D)  
(softly)  
Well, that's important, of course....  
Of course, we're all praying for her....  
Of course....

Marlena paces aimlessly around the room as Brady's head rises over the edge of the couch. She steps on the discarded notepad. She picks it up without looking at it. Brady cringes. Should he make a grab for it?

MARLENA (CONT'D)  
(softly)  
Well, we'd be happy if she stayed  
for dinner....Of course it's no bother.  
It's nice to have her around....I'll  
tell her when --

Marlena glances carelessly down at the notepad and stops. She reads it quickly, with growing alarm.

MARLENA (CONT'D)  
(distracted)  
-- when -- um, when she wakes up   
and -- and she can decide.

She looks toward the couch and sees Brady's face mirroring her own worry. She shakes herself and focuses on the call.

MARLENA (CONT'D)  
Oh, no, one of us can bring her  
home either way....It's really no  
bother....Of course....All right....  
Goodbye.

She hangs up and turns to Brady.

MARLENA (CONT'D)  
(softly)  
Did Chloë write all this?

Brady nods and gestures to Chloë to indicate that she's still asleep.

BRADY  
(whispers)  
I know. It's not good.

MARLENA  
No, it's not.

She leaves, frowning thoughtfully.

INT. LIVING ROOM - LATER

John, Marlena, Brady, Belle, and Chloë enter from the dining room, stretching and chatting, all smiles.

JOHN  
Not bad if I do say so myself

BELLE  
Major yummies, Dad.

There is general agreement.

JOHN  
Thank you. Thank you.

MARLENA  
Chloë, honey, you didn't eat much.  
Are you sure you don't want  
something else?

Chloë's gestures indicate no, she's full, very yummy, thanks.

MARLENA (CONT'D)  
Okay then. Well, I hate to say  
this, but it's getting late.

BRADY AND BELLE  
(in unison; an old joke)  
Aw, Maaaaaaaaaaaaa....

MARLENA  
(covers ears)  
No, no, I am immune to your  
pleas. Belle's got school and Brady's  
got work in the morning.

BRADY  
Eh, I can saunter in a few hours  
late. My boss is a pushover.  
(off John's look)  
But he's an excellent cook.

JOHN  
Mm-hm. Say your goodnights, guys.

John leaves to get Chloë 's coat. Belle hugs Chloë.

BELLE  
See ya tomorrow.

Chloë nods. John returns and helps her put the coat on. Brady walks Chloë toward the door as John is putting on his own jacket.

BRADY  
So, uh, how about you and me  
doing something Friday night?

Chloë nods, but then stops, glaring at him suspiciously.

BRADY (CONT'D)  
What?  
(off her look)  
Okay, yeah, it's Valentine's Day.  
But it's also a Friday. You know,   
the day when all young, hard working,   
red-blooded American men and women  
go out and waste time with friends.

Chloë grins. She tilts her head back and forth: maybe.

BRADY (CONT'D)  
If you're worried that it's about...  
(looks around; quietly)  
...what I said before, don't be. Just  
pretend I never said anything. Okay?  
This is just...same ol'. Movie, food,  
whatever. No big. Whaddya say?

Chloë gives him a thumbs up.

BRADY (CONT'D)  
Great. What time?

She holds up eight fingers.

BRADY (CONT'D)  
Okay. I'll pick you up.

John approaches.

JOHN  
Ready, Chloë?

She nods, smiling brightly, and waves goodbye to everyone. The others wave and say goodbye, and John and Chloë exit.

Once she has left, the happy escapes from Marlena and Brady like air from a balloon. Belle notices.

BELLE  
What's wrong?

BRADY  
Nothing.

BELLE  
Guys....

MARLENA  
We're worried about Chloë.

BELLE  
About her voice?

MARLENA  
No, honey.

BRADY  
Chloë's fine. I'll take care of her.

MARLENA  
She's not fine, Brady.  
(to Belle)  
Chloë said, or rather wrote, some things  
today that could mean that she's not doing  
as well as she seems. I'm afraid she's  
sinking further and further into depression,  
and if she's not treated --

BRADY  
I said I'll take care of her!

MARLENA  
Of course you will, but she needs  
more than just friendship --  
(off his look)  
-- more than love to get her through this. 

BRADY  
So, what, you're gonna be her shrink too?

MARLENA  
(beat)  
No, I don't think that would be   
appropriate.

BRADY  
I'll say. Bit of a conflict of interest  
there, treating a psychopath and the girl  
he tried to kill.

MARLENA  
You're angry with me for treating Phillip.

BRADY  
Gee, noticed that, did you?

MARLENA  
(beat; frowns)  
I thought you and I were past this.

BRADY  
Well, I thought I could trust you.  
Guess we were both wrong.

MARLENA  
Phillip is very, very sick. You'd rather  
I let him suffer?

BRADY  
YES!

There is a startled take from both Belle and Marlena. Brady glares.

BRADY (CONT'D)  
I will take care of Chloë. You stay out of it.

He storms up the stairs.

Marlena sits on the couch with a sigh. Belle joins her.

BELLE  
He doesn't mean it.

MARLENA  
Belle, have you noticed Chloë  
acting...differently lately? Besides  
the talking. Has her other behavior  
been...not like her?

BELLE  
Now that you mention it, yeah.

MARLENA  
How so?

BELLE  
She's been really...bizarrely  
cheerful.  
(off her look)  
I know it sounds weird, but this  
is Chloë we're talking about, Miss  
Moody America. I swear, since   
New Year's, she hasn't stopped   
smiling. She's all bouncy and friendly   
and joking around. It's kinda creepy.

Marlena blinks thoughtfully. 

MARLENA  
Well, I must admit that's not what  
I expected you to say --

BELLE  
It's so weird, Mom. It's like she's putting   
on a "Happy Chloë" mask every morning  
so no one can see what's really there.   
It's like the glasses and the Morticia  
outfits. Her new disguise.   
(beat)  
You think?

MARLENA  
I do. Has she said anything to you  
about Phillip's attack?  
(off her look)  
Belle?

BELLE  
(hesitant)  
Remember when I got back from the  
island, and we talked about...whad'ya  
call it, post-traumatic stress?

MARLENA  
Of course.

BELLE  
Well, the kind of thing that happened  
to Chloë, do you think that could   
cause it?

MARLENA  
Certainly. It's practically a textbook  
example. But post-traumatic stress  
has a very specific set of symptoms.  
Usually, the victim gets sort of stuck  
in the attack. He or she keeps remembering  
it, but so vividly it's like reliving it....  
(off her look)  
Oh dear.

BELLE  
She told me today that that's why she's  
been avoiding Brady. 'Cause every  
time she's with him, she keeps seeing  
it over and over.

ANGLE ON the top of the staircase. Brady, who has been sitting there eavesdropping, looks stunned.

MARLENA  
Belle, honey, Chloë needs help. I   
would talk to the Wesleys myself, but....

BELLE  
But Mrs. Wesley doesn't really trust you.

MARLENA  
Do you think they'd listen to you?

BELLE  
Maybe. But it would be better coming  
from Brady.

MARLENA  
Brady's still dealing with his own  
trauma, and anger. I suspect that  
he feels guilty for what happened,   
for not protecting her in the first  
place, and that's why he wants to fix   
everything himself.

BELLE  
But it's so totally not his fault!

MARLENA  
He probably knows that. But what  
we know and what we feel --

BELLE  
-- are totally different things.

MARLENA  
Exactly. You'll talk to the Wesleys?

BELLE  
Just tell me what to say.

Brady scowls down at this, digesting the information. 

BRADY  
(to himself)  
I'll fix it. I'll fix it.


	5. Valentine

PART V

VALENTINE

INT. UNIVERSITY HOSPITAL - SPEECH THERAPY OFFICE - DAY

Chloë sits on a small stool in the darkened office, looking seriously at DR. DANA SMALLS, her therapist. Dana prods at Chloë's neck a little. Chloë winces as though it's tender.

DANA  
So how's it feeling?

Chloë tilts her head: so-so.

DANA (CONT'D)  
Still a little sore? Tender when you  
try to talk?

Chloë shrugs.

DANA (CONT'D)  
Have you tried to talk?

Chloë glares at her. The doctor sighs.

DANA (CONT'D)  
Just checking. All right. Let's hear   
it. Say "ah."

INT. LIVING ROOM - BLACK PENTHOUSE - DAY

Brady rushes in. He stops, looks around wildly, runs out. Belle, on the couch with her homework, sighs and shakes her head.

He darts in again.

BRADY  
Roses?

BELLE  
Too much.

BRADY  
Rose. Singular.

BELLE  
Clichéd.

BRADY  
Crap.

He dashes out, nearly knocking John over as they pass each other in the kitchen threshold. 

JOHN  
Whoa.

BELLE  
Pre-date jitters.  
(beat; sighs)  
He must chill.

John chuckles and sits in an armchair, picking up the newspaper.

JOHN  
You think this is bad. You should've  
heard Plan A.

BELLE  
What was Plan A?

JOHN  
(beat)  
Y'know, I don't think I want to  
give you any bright ideas.

BELLE  
That good?

JOHN  
Oh yeah.

BELLE  
Wow.

JOHN  
Speaking of hot dates, aren't you  
and Shawn doing something tonight?

BELLE  
Tuscany, of course.

JOHN  
Of course.

BELLE  
But not till nine. Still got plenty  
of primping time.

Brady storms back in, on a cordless phone. 

BRADY  
(to phone)  
No. Not roses....They're clichéd.

Belle nods her approval. Brady mimes to her and to John that he needs their help.

BRADY  
(to phone)  
Sunflowers?...Out of season. Okay,  
how about....about....

BELLE  
Um...tulips?

BRADY  
(to phone)  
Tulips!...What color?...Um...  
blue?...Well how am I supposed  
to know what colors they come   
in? I'm not a florist!

JOHN  
(to Belle)  
Roses are clichéd?

BELLE  
Duh.

JOHN  
Since when?

BELLE  
Since it's, like, the twenty-first century.

JOHN  
Well, at least I'm not that far behind  
the times.

John, amused but overwhelmed, leaves.

Brady sits on the arm of the couch, next to Belle.

BRADY  
(to phone)  
Okay, forget tulips. What would you  
give a girl on Valentine's day?...  
(beat)  
What's she like?  
(sighs; dreamily)  
How much time you got?

EXT. FAIR OAKS HOSPITAL - DAY

Establishing shot. This ain't no hospital. It's a loony bin for the dramatically rich: neoclassical architecture and lots and lots of shrubbery behind a big, BIG fence.

INT. FAIR OAKS HOSPITAL - HALLWAY - DAY

Victor and Kate walk toward us down the hall, both looking grim.

KATE  
Well, it's better than that awful  
prison cell...just.

Victor says nothing. He says it very loudly.

KATE (CONT'D)  
Still giving me the silent treatment?

Clearly, yes. Kate sighs.

KATE (CONT'D)  
You will at least feign civility in front  
of our son?

Victor stops. He glares at her.

KATE (CONT'D)  
Ooo, fury! Well, at least it's a reaction.

She tries to walk on. He grabs her arm.

VICTOR  
Don't make me angry, Kate.

KATE  
Or you'll what, Victor? You're not going  
to do one damn thing. You're not going  
to sever the single, tiny thread of   
happiness you son has left to hold on to.  
You're not going to tell him that you'd  
rather see me dead than live with me   
again, are you?  
(beat)  
I didn't think so.

She tries to walk away again. He continues to hold her.

VICTOR  
Consider yourself lucky, Kate, that  
you aren't in a cage. You remain a free  
woman because of my love for my son.  
(beat)  
Though in light of recent events, I'm  
wondering if that wasn't a mistake.

KATE  
(coldly)  
Meaning?

VICTOR  
Meaning I set a poor example for my  
son by letting your homicidal behavior  
go unpunished.

Kate laughs, loudly and bitterly.

KATE  
Victor Kiriakis, you are a hell of a  
piece of work, you know that? How dare  
you, how dare you throw stones! You've  
actually got yourself convinced that  
you are an upstanding, righteous man.  
Maybe you've forgotten yourself, but  
I haven't forgotten. How many men have  
you killed, Victor?

VICTOR  
(threatening)  
Lower your voice.

KATE  
(quieter)  
Don't want to talk about the murders?  
Well, then, how about kidnapping,  
extortion, drug dealing, pornography,  
oh, and let's not forget slavery, plus   
everyone's favorite, bioterrorism!

VICTOR  
(growl)  
Kate...

KATE  
Fine, you're deluded, it's not uncommon.  
I understand that part. What I don't  
understand is how you've managed to convince  
everyone else in this town of your virtue. How  
they've all come to forgive and forget.  
(beat)  
What I don't understand is why, despite it  
all, I still love you.

She tears her arm away and storms down the hall.

Victor watches her, his expression unreadable, then follows.

INT. UNIVERSITY HOSPITAL - SPEECH THERAPY WAITING ROOM - DAY

NANCY sits perusing A COPY OF BELLA, silent except for the occasional snort of contempt. She glances at the clock on the wall, checks her watch against it, then goes back to her magazine. 

CRAIG slips silently into the room and greets Nancy with a kiss on the cheek. 

CRAIG  
Hey, gorgeous. How's it going in  
there?

NANCY  
Are you joking? I've been banished.  
What're you doing here?

CRAIG  
Got a few minutes. Thought I'd check  
on my girls.

NANCY  
Well, aren't you just the sweetest --

Before they can get too cuddly, Chloë BURSTS through the exam room door and FLIES out of the waiting room. Dana appears a second later.

DANA  
Chloë, wait!

NANCY  
What the hell is going on here?

CRAIG  
(calmer)  
Dana, what happened?

DANA  
I...it's my fault. I shouldn't have said...

They look at her expectantly.

DANA (CONT'D)  
I suggested, in light of how little progress  
she's making, that she consider learning  
sign language.

Craig and Nancy exchange a look of distress.

INT. HOSPITAL REST ROOM - DAY

Chloë runs in the door, holding back tears, but just barely. She goes to the sink and splashes water on her face to calm herself. Then she looks hard in the mirror. 

SHE FLASHES, in blipvert bursts, on Brady at a piano, herself singing; Brady serenading her with "Music of the Night"; them singing "Sixteen Going on Seventeen" in the park; singing "O Holy Night" by the tree; kissing on the veranda.

She shakes the images off and fishes her CELL PHONE out of her purse.

INT. BLACK LIVING ROOM - DAY

Brady's checking items off A LIST. Belle watches him with amused tolerance.

BRADY  
Flowers, check; drinks, check; food,  
check; music, check....

BELLE  
Batteries for the boom box?

BRADY  
Check, and thank you for reminding  
me. Let's see...flowers, drinks,   
food, music, batteries, picnic basket --

He stops at a sudden, urgent BEEPING.

BRADY  
-- beeping thing. There's no beeping thing  
on my list. What the hell is beeping?

BELLE  
I think it's your cell.

BRADY  
That's not my ring.

BELLE  
That's the text message noise. It's  
probably Chloë. That's how she  
calls people now.

BRADY  
(looks at phone)  
Son of a gun. Ain't technology grand?  
How do I read this thing?

BELLE  
Give it here.

He complies and watches as she pushes a few buttons and hands it back to him. He reads.

BRADY  
"Brady -- can't c u 2nite -- sorry -- Chlo."

There is a long, dangerous pause.

BRADY (CONT'D)  
(hollers)  
What the hell?!

INT./EXT. NANCY'S CAR - DAY

Chloë stares vacantly out the window of the moving car as Nancy drives them home. Nancy's glance darts nervously between her daughter and the road.

Chloë's phone BEEPS. She ignores it.

NANCY  
You gonna answer that?  
(long beat)  
That's the fifth one.  
(long beat)  
Is there someone in particular  
you're avoiding?

Chloë says nothing. Nancy scowls out the windshield.

NANCY (CONT'D)  
She didn't mean for good. Just for now.  
It's gonna be all right.

Chloë manages a weak smile for her mother. The phone BEEPS again. Chloë gazes out the window.

INT. FAIR OAKS HOSPITAL - PHILLIP'S ROOM - EVENING

Kate sits beside Phillip on the bed, with Victor in a chair opposite. The tension is thicker than the walls, but Phillip is oblivious. He's agitated, restless.

PHILLIP  
Yeah, this place is fine, but I don't  
get why I have to be here. 

KATE  
Honey...

PHILLIP  
I mean, what happened to bail? It's  
not like we can't afford it, right?

KATE  
That wasn't the problem honey. It's...  
it's complicated.

PHILLIP  
They shouldn't treat me like this!  
Don't they know who I am? Who my   
father is?

Victor shifts uncomfortably. Phillip turns to him.

PHILLIP (CONT'D)  
I'm a Kiriakis! Nobody does this to a   
Kiriakis, right Dad? Right? Maybe that's  
why they're doing it! They're after us!

Victor looks out the window.

KATE  
Phillip, dear --

PHILLIP  
You're gonna make them pay, right  
Dad? They can't do this to one of ours!  
We don't take this crap --

KATE  
Phillip!

An ORDERLY pops his head into the room.

ORDERLY  
Mr. and Mrs. Kiriakis? Five minutes.

KATE  
Thank you.

VICTOR  
Yes, thank you. We have to go, Phillip.  
It's...it's...

He falters. Kate and Phillip look at him expectantly. Kate, perhaps, shows some pity.

VICTOR (CONT'D)  
I love you, son.

He hurries out.

INT. HALL OUTSIDE PHILLIP'S ROOM - CONTINUOUS

Victor stands motionless, staring at nothing. Kate emerges from the room and approaches him.

KATE  
Surprised you're still here.

He turns slowly toward her, pain bright in his eyes.

VICTOR  
Did I do this? Did I do this to him?

Kate looks stunned at this outburst. She touches his arm gingerly. When she is not rebuffed, she embraces him. Victor accepts the embrace wearily.

INT. CHLOË'S BEDROOM - NIGHT

The clock reads 7:45 PM. Chloë lounges in bed with a textbook, but she's not really paying attention to it. She fiddles with a pen. She gazes into the distance.

The phone BEEPS again, from its perch on her bedside table. She scowls at it and turns back to the book, trying to concentrate. 

In the distance, a PHONE RINGS. NANCY'S VOICE, muffled, is heard through the closed door. A moment later, there's a knock.

Chloë sighs and knocks twice on the wall behind her; apparently, this is how she says "come in." Nancy enters.

NANCY  
Honey, that was Belle. She said she's  
left you a text message, and it's   
important.

Chloë nods thanks, and Nancy disappears. Chloë picks up the phone.

CU the display screen. It reads "9 NEW MSGS." 

She clicks through them. The first eight say "FROM: Brady 458-882-4563." 

The last reads "FROM: tBelle@salem.net." She clicks to read it.

The message says "fight with s. huge bad. need 2 talk. meet me?"

Chloë sighs and types her response: "ok. when where?"

Chloë busies herself with her books until the phone BEEPS again. She checks it. It reads "gazebo asap ok?"

She messages back: "c u in 20."

She tosses the phone into her bag and starts hunting for shoes.

EXT. THE GAZEBO - NIGHT

It is pitch dark, and Chloë walks along the path. She looks around nervously. A SHADOW crosses behind her. She starts. It's gone. She creeps toward the gazebo. 

The hollow sound of her footsteps on the wooden stairs startles her. 

THE SHADOW, definitely person-shaped now, moves in the bushes behind her. She turns quickly. 

No one there. 

She sits on a bench, looks around.

There's a CLICK.

SAXOPHONE MUSIC begins. Chloë leaps up and nearly out of her skin. THE CHRISTMAS LIGHTS around the gazebo TURN ON. She wheels around.

Brady stands next to the switch, grinning.

Chloë glares. She stamps her foot.

BRADY  
Yeah, well, that's what you get for   
standing me up!

Chloë rolls her eyes at him, makes a rude gesture.

BRADY (CONT'D)  
Same to you, princess. Now are you  
gonna let me woo you like a  
civilized person or are we gonna play  
insulting charades all night?

She cocks her head and scratches her head sarcastically: "Hmm, let me think...."

BRADY (CONT'D)  
You're impossible.

He steps up onto the gazebo. One hand is behind his back.

BRADY (CONT'D)  
You're impossible to get in touch with.  
You're impossible to deal with. And  
you are damn near impossible to buy  
flowers for.

He produces an enormous BOUQUET OF TIGER LILIES from behind his back. Her eyes widen.

BRADY (CONT'D)  
Tiger lilies sounded like you. Fierce,  
but beautiful.

She takes the bouquet, slowly and with trembling hands. Brady smiles. He knows he's got her. Chloë catches the smile and scowls. Maybe he doesn't. She shakes her head. She shakes the flowers at him.

CHLOË  
(mouths)  
Not a date?

BRADY  
I lied. Your point?

She points an angry finger at him, then POKES HIM in the forehead.

BRADY (CONT'D)  
(laughing)  
Ow! Back off, wench! Just let me  
show you the whole spread before you  
go stomp off in a huff.

He backs up a few paces and indicates the items he has spread out for them. He gestures to each as he speaks.

BRADY (CONT'D)  
See? First of all, got the Miles Davis swingin'.  
Then, we got the diet root beer, 'cause  
I know it's your favorite and I 'cause I got  
carded trying to buy champagne. Then,  
check it out, brie! With baguettes.  
And finally, la pièce de resistance --  
(picks up box; eagerly)  
Sidewalk chalk! Are you getting the  
theme yet?

She shakes her head: not a clue! But she's smiling at his performance despite herself.

BRADY (CONT'D)  
It's a night in Paris.

Chloë blinks at him, open mouthed, touched. He moves closer as he speaks.

BRADY (CONT'D)  
Le jazz hot, le fromage cold, and street art!  
I was gonna really take you to Paris, but Dad  
wouldn't let me take the plane. Then there's  
that whole thing about transporting minors  
and Nancy coming after me with a rubber band  
and a potato peeler. Besides, by the time   
we got to Paris it wouldn't be Valentine's   
Day anymore. And it takes like eight hours   
to get there. It'd just be you and me, on a  
plane, alone, nothing to do....

He's so close they're nearly touching. Brady has to collect himself to speak.

BRADY (CONT'D)  
...and I'm suddenly wondering why  
I thought that was a bad idea.

Chloë blushes and backs away, taking the chalk from his hands. She opens the box and takes out the black piece. He stops her hand.

BRADY (CONT'D)  
Eiffel Tower?

She nods. He pulls out the brown piece.

BRADY (CONT'D)  
It's actually brown. Little-known fact.

She puts the black away and takes the brown from him. Putting the flowers carefully on the bench, she settles on the floor and begins to draw. 

Brady smiles. Then he joins her.

TIME LAPSE - THE DRAWING

Follow Chloë and Brady's hands as they sketch out the Eiffel Tower, two people at the top, grass at the bottom, a grinning King Kong hanging off the side. They draw the moon, the stars, the sky, a flower cart, music notes, a man in a beret with a silly moustache and an accordion. The process is sensuous and intimate. An innocent fantasy of the city of lights blossoms from their hands.

EXT. THE GAZEBO - LATER

Chloë is intently putting finishing touches on their work of art. Brady munches on a sandwich and watches her. He taps her shoulder, holds up the last bite. She opens her mouth, and he pops it in, then she goes back to work. He watches her, happy just to be next to her.

Finally, she sits back and makes a gesture: Tah dah!

BRADY  
Excellent! We do good work.

She nods agreement. She holds out a hand, and he tosses her a can of root beer. She takes a sip, then looks at him questioningly.

BRADY (CONT'D)  
What?  
(off her look)  
What now? I dunno. It's a little late  
for bowling, a little cold for basketball.

She shrugs, content.

BRADY (CONT'D)  
We could...uh...

He beckons to her, looking around warily. She plays along and leans in. He kisses her cheek. She darts back and shoves him, but she's laughing as she does it.

BRADY (CONT'D)  
Worth a shot. It is Valentine's day.

She nods, seeing his point.

BRADY (CONT'D)  
Speaking of which, where's my gift?  
(off her look)  
I got you this whirlwind trip to Paris,  
but you haven't given me squat.  
That's not very polite of you.

She rolls her eyes and beckons to him as he did to her. He leans in, presenting his cheek for a kiss. With a wicked grin, she tilts her head around and kisses him on the lips. A surprised little moan escapes him. 

She pulls away and looks him in the eyes. She's not afraid exactly, more unsure.

BRADY (CONT'D)  
That...that was...could we do that again?

Chloë kisses him again. 

BRADY (CONT'D)  
Yeah, that was...words...brain not   
really...working...now...we should just --

And again. She climbs carefully into his lap as the kissing intensifies. His hands are in her hair. She grabs his coat and pulls him close.

INT. THE KIRIAKIS MANSION - VICTOR'S STUDY - NIGHT

Victor closes a thick manila folder that lies on his desk and scowls at it for a while. He goes to the wet bar to pour himself a drink. The phone rings: once, twice.... Realizing that Henderson is not going to get it, he picks up and answers gruffly.

VICTOR  
Hello?

KATE (O.S.)  
Victor?

INTERCUT WITH:

INT. KATE'S APARTMENT - BEDROOM - CONTINUOUS

Kate is perched on a corner of her bed, nervously. She frowns.

KATE (CONT'D)  
Victor?

VICTOR  
I'm here. What do you want, Kate?

KATE  
I was just calling to see how you were.

Victor sighs the sigh of the irritated.

VICTOR  
I'm fine, Kate. Thank you for calling.

He goes to hang up, but hears her protest.

KATE  
Victor! Victor please, just --

VICTOR  
What?

KATE  
It's not your fault. Or mine, or anyone's.

VICTOR  
Does that fairy tale help you sleep at night?

Kate pauses, a little hurt.

KATE  
I haven't slept in a long time, Victor.

Victor looks peeved, and a little guilty.

VICTOR  
Well, that makes two of us then.  
(beat; genuine)  
Thank you for calling.  
(beat)  
Are you all right?

KATE  
As well as can be expected, I   
suppose. Honestly, right now I'm mostly  
feeling alone.

Victor looks around his empty, cavernous inner sanctum. He knows the feeling. Not that he'd admit it.

KATE (CONT'D)  
Look, Victor...this is very awkward....

VICTOR  
Just say it.

KATE  
It's Valentine's Day.

VICTOR  
(beat)  
Is it?

KATE  
(beat)  
You...a person shouldn't spend   
Valentine's Day alone.

VICTOR  
(beat)  
Good night, Kate.  
(beat)  
Thank you for calling.

Victor hangs up softly and gazes into nothingness again.

EXT. THE GAZEBO - NIGHT

Brady and Chloë are still engaged in tender, passionate kissing.

But TWO FEET, clad in heavy boots, appear on the path. They walk slowly, deliberately, as though sneaking up on the pair. All stealth is lost, however, when one foot lands on a LARGE TWIG and breaks it with a SNAP.

Chloë jumps off Brady's lap, panting with panic. Brady leaps to his feet between the noise and Chloë and squints into the dark in search of the noise's source.

A YOUNG MAN, no one we know, stands startled on the path.

BRADY  
Hey!

MAN  
Sorry!

BRADY  
What're you doing?

MAN  
Sorry, man, I was just --

BRADY  
It's Valentine's day, man! We're   
trying to pretend it's Paris over here!  
Have a little respect!

MAN  
Whatever, dude.

The young man walks on, annoyed.

BRADY  
(sotto voce)  
Tool.  
(to Chloë)  
You okay?

She nods, but she's still shaking. Brady moves close to her, touches her arm, but she TWITCHES AWAY. She's apologetic at once, but it's too late.

BRADY (CONT'D)  
Oh, great. Perfect.

He turns away and busies himself by throwing their stuff into the basket. Chloë touches his arm. He whirls on her.

BRADY (CONT'D)  
You don't feel safe with me, do you?

Chloë looks surprised at the question. She shrugs noncommittally, not understanding. It's not the answer he wanted. He continues his livid packing.

BRADY (CONT'D)  
What was I thinking? What was I  
freakin' thinking? Flowers. Yeah. Root  
beer. That'll fix everything.

CHLOË  
(mouths)  
Brady --

BRADY  
Root beer isn't gonna fix what he did  
to you, and it's not gonna fix the fact  
that I let it happen. That I didn't stop him.

CHLOË  
(mouths)  
Brady!

BRADY  
You shouldn't trust me. You shouldn't  
forgive me.

CHLOË  
(aloud; weakly)  
Brady!

Chloë blinks, shocked at the sound of her own voice.

Brady turns slowly to face her, open-mouthed.

BRADY  
(beat)  
Do that again.

INT. THE WESLEYS' LIVING ROOM - NIGHT

Craig is manhandling a bottle of champagne. There's an empty bottle beside him. He's grinning a little too much.

Nancy slinks down the stairs in a red negligee and peignoir. Craig notices and whistles. She pirouettes on the landing.

NANCY  
Happy Valentine's Day.

CRAIG  
It certainly is!

She continues down the stairs. She shimmies across the room and into his arms. He abandons the bottle to grab her. As he swoops in for the nuzzle, the DOOR BURSTS OPEN.

Craig jumps in front of Nancy as Chloë and Brady tumble into the room. They're out of breath.

BRADY  
Doctorandmissuswesleyyougottahearthis!

CRAIG  
Um, Brady?

They don't notice.

BRADY  
Listen!

He points to Chloë. She steels herself, takes a deep breath, and says --

CHLOË  
(quiet)  
Hi!

A startled pause, then the Wesleys rush her in a noisy group hug. Brady steps back and smiles at them.

INT. PHILLIP'S HOSPITAL ROOM - NIGHT

Phillip rolls over in his bed and opens his eyes. He sits up, startled.

PHILLIP  
Brady?

Brady stands in the doorframe, dressed in black jeans, black t-shirt, black leather jacket. He smiles.

PHILLIP (CONT'D)  
How the hell did you get in here?

BRADY  
Dude, I'm family!  
(beat)  
Okay, I bribed a guard. How you  
doin', Uncle Phil?

Brady wanders casually around the room, taking in the décor (or lack thereof), fiddling with objects. Phillip watches him warily.

PHILLIP  
What do you want?

BRADY  
Just checking in, seeing how things are...

He looks directly at Phillip as he adds --

BRADY (CONT'D)  
Chloë says hi.

Phillip jumps out of bed.

PHILLIP  
What are you doing talking to Chloë?

BRADY  
Well, talking isn't exactly the word I'd use.

His smile is poisonous as he sits in a SMALL WOODEN CHAIR.

BRADY (CONT'D)  
Gotta admit, I get it now, why you had   
such a jones for her. Mmm. Those lips.  
Even better than they look. Didn't think  
that was possible....

PHILLIP  
(seething)  
Shut up.

Brady leans forward.

BRADY  
Y'know that thing she does, with the --

SHARP CUT TO:

INT. THE NURSES' STATION - CONTINUOUS

A bored orderly is rooting through his pockets. The duty nurse glances at a bank of monitors.

NURSE  
Oh, here we go.

ORDERLY  
What?

NURSE  
The Kiriakis kid. He's at it again.  
Talking to himself.

CU the monitor that shows Phillip's room. Phillip is there ALONE.

ORDERLY  
What's he doing?

NURSE  
Nothing yet.

ORDERLY  
Well, I need a smoke. Yell if   
he does something.

INT. PHILLIP'S ROOM - CONTINUOUS

Brady laughs.

BRADY  
You don't know what I'm talking about,  
huh? That's too bad.

PHILLIP  
(rising voice)  
Shut your mouth!

BRADY  
(beat)  
Why?

Phillip LUNGES AT HIM.

INT. NURSES' STATION - CONTINUOUS

The nurse is watching the monitor. The orderly is halfway out the door, unlit cig in mouth, when the nurse says --

NURSE  
Now he's doing something.

ORDERLY  
Great.

They rush down the hall.

INT. PHILLIP'S ROOM - CONTINUOUS

Phillip is throwing things at Brady, who dodges easily. Phillip tries throwing punches, but Brady sidesteps every one.

BRADY  
Dude, give it up!

PHILLIP  
YOU STAY THE HELL AWAY   
FROM HER!

BRADY  
You can't do a damn thing to me, Phil.  
You can't touch me. And you can't touch  
her, not anymore. She's mine.

PHILLIP  
SHUT UP!

BRADY  
Face it, Unk, you're nothing. You're  
nobody. Nobody cares. They're all  
laughing at you. All of them. Even her.

Phillip grabs the wooden chair and THROWS it at Brady. The chair seems to PASS THROUGH him and it SHATTERS against the wall. This stops Phillip in his tracks.

Brady laughs.

Phillip drops to his knees and scrabbles through the wreckage of the chair. He finds a LONG, THIN SHARD of wood. His eyes gleam at the site of it. Then he hears VOICES in the hall. He steals a look at the door, then SHOVES his new weapon between mattress and bed frame.

Brady has disappeared. 

The orderly and nurse BURST through the door.

INT. THE WESLEYS' LIVING ROOM - NIGHT

Chloë and Nancy sit on the couch. Nancy is hugging her daughter so fiercely that Chloë looks half crushed. She rolls her eyes at Brady. Craig stands next to him, regarding his girls and smiling.

CRAIG  
Amazing.  
(to Brady)  
I should've known it would be  
you who did it.

BRADY  
I didn't do anything. Except get her so   
mad she had to yell at me.  
(beat)  
Should've thought of that weeks ago.

Craig grins and pats him on the back.

CRAIG  
You're a good man.

BRADY  
Thank you, sir.

CRAIG  
(sotto voce)  
And you've got some lipstick on  
you there.

Brady starts and wipes at his cheek. Chloë catches his eye as he does. They exchange a private smile. Brady turns to Craig.

BRADY  
I think I should let you all be  
alone. This is family time.

Craig extends his hand. They shake.

BRADY (CONT'D)  
G'night, Mrs. Wesley. Chlo?

CHLOË  
(quiet)  
G'night.

Brady's smile is wide as he leaves.

EXT. THE WESLEYS' - CONTINUOUS

Brady ambles slowly away from the house, smile growing a little sadder with each step. He reaches his car, but he doesn't get in. He heads around the side of the house.

EXT. UNDER CHLOË'S WINDOW - CONTINUOUS

Brady looks up, sighing. The window is dark. As he turns to go, there is a SLIDING SOUND, and something FLIES past his head.

BRADY  
What the --

He crouches and picks up the offending object: it's a tiger lily. He looks up.

Chloë leans out the window at him. She waves.

BRADY (CONT'D)  
Hey.

CHLOË  
(quiet)  
Hey.

They keep smiling, at a loss for words. Finally, Brady starts to climb the trellis below her window. Chloë, nervous, leans out and extends a hand to steady him. 

It's a struggle, but Brady gets just high enough for their lips to meet. They kiss softly. She brushes his hair off his forehead.

She tries to speak. It comes out a squeak. She rolls her eyes and tries again. No luck. Finally, she sighs.

CHLOË (CONT'D)  
(mouths)  
I love you.

BRADY  
(huge smile)  
I can't wait to hear you say that.

He jumps to the ground, lily in hand, and disappears into the night.

OVERLAP TO:

INT. HALL OUTSIDE PHILLIP'S ROOM - NIGHT

The nurse is writing on a clipboard. The orderly glances through the window into the room.

ORDERLY  
Think he's out for a while?

NURSE  
Got enough Thorazine in him to  
put down Genghis Khan.

ORDERLY  
Good. Gonna have my smoke.

NURSE  
Enjoy.

The orderly departs. We PUSH IN past the nurse, through the tiny window, into

INT. PHILLIP'S ROOM - CONTINUOUS

Someone has cleaned up the wreckage. No chair bits are in sight.

Phillip is sleeping in his tousled bed. There's a small STREAK OF BLOOD on his inner arm where he received the injection. PAN DOWN through the mattress, to see the shard of wood that Phillip hid there, missed by his caretakers.


	6. Trials

PART IV

TRIALS

INT. SALEM HIGH - THEATER - DAY

Chloë sits on the end of a piano bench turned perpendicular to the keyboard. She picks idly at the keys. Just as we think we hear a tune emerge, there's a cascade of jarring notes and a new sequence begins. She does this again and again, regarding the keys with a troubled frown. Finally, we recognize Puccini. Chloë begins to sing.

CHLOË  
(sings; in Italian)  
Un bel dì, vedremo   
levarsi un fil di fumo   
dall'estremo confin del mare.   
E poi la nave appare.   
Poi la nave bianca   
entra nel porto,   
romba il suo saluto.   
Vedi? È venuto --

Chloë's voice CRACKS. Suddenly furious, she BANGS on the keys with her fist, sending up a horrible cacaphony.

Brady hurries through the door. She looks up, startled.

BRADY  
Hey! Sorry I'm late.

CHLOË  
You're not late.

BRADY  
It's almost five.

Surprised, Chloë checks her watch. So it is.

BRADY (CONT'D)  
What's with all the small people  
out there?

CHLOË  
Orientation night for next year's  
freshmen.

BRADY  
Those are freshmen? Man, I'm  
getting old.

CHLOË  
(sarcastic)  
You're museum-bound.

Brady ignores the snark and hops onto the bench behind her. He presses close, his legs straddling her body. She settles against him happily. He kisses her cheek.

BRADY  
Did you start without me?

CHLOË  
(beat)  
I'm not really in a practicing mood.

Brady caresses her cheek.

BRADY  
The audition is a week away.

CHLOË  
I know.

BRADY  
Practice will help.

CHLOË  
(annoyed)  
I know.  
(beat; softer)  
Sorry.  
(beat)  
I don't think I can do it. My voice  
just isn't...isn't....

BRADY  
(gentle)  
I have an idea. Why don't we back  
off on the Butterfly for a little?  
Try something simpler.

CHLOË  
I have a better idea. Why don't you  
sing something for me?

Brady smiles. He reaches around her to the keyboard. He strikes a chord.

BRADY  
Like what?

CHLOË  
Got any songs about not feeling  
like singing?

BRADY  
Actually, yeah.

She smirks skeptically. He begins a tune that's sparse and dramatic, a low erotic pulse. He starts singing.

BRADY (CONT'D)  
(sings)  
Words like violence  
Break the silence  
Come crashing in,  
Into my little world.

Chloë recognizes the tune, nods her admission of defeat. He did have one.

BRADY (CONT'D)  
(sings)  
Painful to me  
Pierce right through me  
Can't you understand  
Oh, my little girl.  
All I ever wanted  
All I ever needed  
Is here  
In my arms.

BRADY AND CHLOË  
(singing; in harmony)  
All I ever wanted  
All I ever needed  
Is here  
In my arms.

As Chloë takes over the next verse, Brady's left hand slips from the piano onto her leg. As she sings, his hand is moving upward, up her leg, onto her hip, under her shirt, and as high as a TV-14 rating will allow it to go.

CHLOË  
(singing)  
Vows are spoken  
To be broken  
Feelings are intense  
Words are trivial  
Pleasures remain  
So does the pain  
Words are meaningless  
And forgetable

BRADY AND CHLOË  
(singing; in harmony)  
But all I ever wanted  
All I ever needed  
Is here  
In my arms.  
All I ever wanted  
All I ever needed  
Is here  
In my arms.  
Words are very  
unnecessary.  
They can only do harm.

Chloë turns her head and kisses him. Brady's right hand manages a few more piano notes before giving up and grabbing Chloë. Chloë turns and pushes Brady down onto the bench, climbing on top of him. She pins his arms above his head, but he pulls them free and sits up, Chloë still straddling him.

He pulls off his t-shirt. He begins unbuttoning her blouse. 

There's the rising murmur of VOICES and the CREAK of the theater door opening. They stop insantly and hit the floor behind the bench.

A TEACHER and half a dozen JUNIOR HIGH KIDS, with as many PARENTS, file slowly into the room.

TEACHER  
Though many public schools  
have been cutting their arts programs  
in recent years, Salem High is an  
exception. We have many excellent   
opportunities. Our drama department   
is one of the best in the state.

Brady looks around in a panic. Chloë taps him on the shoulder and indicates a TRAP DOOR in the front of the stage. She unlatches it and crawls inside. He follows quickly, turning at the last minute to grab his shirt, and pulls the door shut.

INT. BENEATH THE STAGE - CONTINUOUS

Chloë and Brady struggle to position themselves in the cramped storage space, which in addition to them contains a few STAGE PROPS and FOLDING CHAIRS. 

TEACHER (CONT'D; O.S.)  
In addition to putting on three drama  
productions per year, we have four  
separate singing groups: the men's, women's,  
and mixed choirs, plus a jazz chorus.

Finally, they get themselves situated much as they were on the bench, Chloë nestled between Brady's legs. Chloë giggles. Brady puts a finger to her lips and shushes her.

TEACHER (CONT'D; O.S.)  
There's also a marching band and  
a concert orchestra. In short,  
just about anything the musically  
inclined could wish for.

His finger trails from her lips to her chin, and they kiss again. She moans. He breaks the kiss and shushes her. She leans back against him, eyes closed, as his hands travel down her body and (mind the censors!) out of frame. Chloë arches her back and gasps silently, throwing her head back as the teacher concludes --

TEACHER (CONT'D; O.S.)  
Whatever activity you choose, your time  
spent in this theater will be unforgettable.

INT. DOT COM - NIGHT

Belle and MIMI sit beside each other in a booth, chatting and sipping at their lattes. Chloë floats to the table with her drink and slides onto the bench opposite them, her gaze far, far away.

MIMI  
(continuing)  
...totally blew the pop quiz, and she  
won't let me take a make up, even  
though I told her I was completely  
unprepared!

BELLE  
I think you're missing the point of  
a pop quiz.

MIMI  
That's what she said!

BELLE  
How'd you do on the quiz, Chloë?

Chloë stares into space, a little smile on her lips.

BELLE (CONT'D)  
Chloë?

MIMI  
Forget it. She's in orbit around Planet  
Brady again.

CHLOË  
(shakes herself)  
Hmm? What about Brady?

The girls laugh. Chloë chuckles.

CHLOË (CONT'D)  
I did it again, didn't I?

BELLE  
Yup.

CHLOË  
Sorry.

MIMI  
Don't apologize, just dish!

CHLOË  
Nah. I was just...thinking.

Her smile turns into a confused frown.

BELLE  
What's wrong?

CHLOË  
Nothing's wrong, I'm just a little,  
well...a little worried about something.

BELLE  
About something Brady-related?

CHLOË  
Kinda...  
(beat)  
All right. Vow of Secrecy?

Belle crosses her heart. Mimi mimes locking her lips and throwing away the key.

CHLOË (CONT'D)  
Okay. Well, it's just, lately...  
(beat)  
Okay. Back when I was with...  
(small shudder)  
Phillip...I used to think about him  
all the time. But with Brady, it's  
different. I'm...  
(beat)  
When I'm thinking about him,  
I'm thinking about being with   
him. All the time.

BELLE  
Huh?

MIMI  
Duh, Belle! She's talking about  
doin' the wild thang with your brother.

CHLOË  
Mimi!

BELLE  
Okay, having a problem, see, 'cause  
you just mentioned "the wild thing" and  
my brother in the same sentence.

MIMI  
(ignores her; to Chloë)  
So have you done it yet?

BELLE  
Mimi!

CHLOË  
Shush! No! No, we haven't!

MIMI  
But you're gonna?

BELLE  
(covers her eyes)  
Not dealing. Not coping. Please  
stop talking about this!

MIMI  
(to Belle)  
When did you become such a   
prude?

BELLE  
As soon as talking about this involved  
picturing my brother naked.

MIMI  
Mmm. See, that was my favorite part.  
(off Belle's look)  
What?

BELLE  
I'm trying to decide whether you need  
to date more, or less.

MIMI  
It would be statistically impossible  
for me to date less.

CHLOË  
Uh, guys?

MIMI  
Right! Sorry! We're talking about  
Chloë here getting it on with Brady.

BELLE  
Aaaugh!

MIMI  
I mean with...with...Raoul.

The girls look at her. She shrugs. Chloë sighs.

CHLOË  
Okay, yes. Me and Raoul. You know  
that, when I was in foster care, I  
saw a lot of girls do some stupid  
things and end up ruining their  
lives, and I always vowed I wouldn't  
do that. I have too much at stake.

BELLE  
I totally agree!

CHLOË  
But when I'm with B...Raoul, the  
stupid things don't seem so stupid.  
They seem like really good ideas.

MIMI  
Well, there's ways to make it...less stupid.

CHLOË  
But none of them work as well  
as saying "no."

BELLE  
So say no! Say, "No way, Raoul!" It's  
been working for me so far.

Mimi snorts. Belle ignores it.

CHLOË  
"No" is easy when I'm sitting here with  
you guys, but it doesn't seem to  
occur to me when Raoul is around.

MIMI  
Hi Raoul!

The girls look up. Brady stands by the table, looking at Mimi like she's squirrel bait.

BRADY  
Uh, yeah, hi to you too, Hildegarde.

He slides into the booth next to Chloë. He puts his hand on her leg. They look into each others' eyes. You could call that sparks between them. You could also call the Grand Canyon a pothole.

BRADY (CONT'D)  
(to Chloë)  
Hi.

CHLOË  
(to Brady)  
Hi.

BELLE  
Oh, yuck!

She dashes from the table. Mimi stands to follow her.

BRADY  
What was that all about?

MIMI  
As if you didn't know, you little  
lustbunnies! I'm gonna go check  
my mail.

She leaves. Brady raises an eyebrow at Chloë.

CHLOË  
Girl talk. Belle had trouble with  
some of the visuals.  
(beat)  
Mimi didn't.

BRADY  
You were talking about us?

CHLOË  
Uh, yeah. I used code names, but I  
think they figured it out.

BRADY  
Well, what were you saying?  
(off her hesitation)  
Chlo'?

CHLOË  
Nothing.

BRADY  
Chloë....

CHLOË  
Not here. Later.

BRADY  
(beat)  
Okay.

She kisses his cheek.

INT. MARLENA'S OFFICE - NIGHT

Marlena works in the small warm light of her desk lamp. She's making notes in a file. She presses "PLAY" on the mini tape recorder beside her. Her own voice emerges from it.

TAPE  
Phillip's dissociation has progressed  
from a mere bending of the truth into  
full fledged delusions, which remain  
unresponsive to medication. They  
display a typical paranoid pattern.  
The most frequent apparition seems  
to be that of Brady Black, his first  
assault victim. Others of his family  
and friends have also figured in his  
fantasies, including myself. Oddly,  
the one person he has yet to have a  
vision of is Chloë Lane.

Marlena stops the tape and makes a few notes. The PHONE RINGS. She answers.

MARLENA  
Hello?

JOHN (O.S.)  
Am I gonna have to come there and  
drag you home by the hair?

Marlena smiles.

INTERCUT WITH:

INT. BLACK PENTHOUSE - LIVING ROOM - CONTINUOUS

John listens patiently.

MARLENA (O.S.)  
I'll be home soon.

JOHN  
That's what you said two hours  
ago.

MARLENA  
Oh! I didn't realize it was so late.

JOHN  
Well it is. The kids are out. I'm all  
alone...

MARLENA  
Just what are you saying?

JOHN  
You know what I'm saying.

MARLENA  
Oh, I do, and I like what you're  
saying...but....

JOHN  
Doc, you're not gonna cure Phillip  
in one night.

MARLENA  
It's been four months.

JOHN  
Four months in which you've barely  
been home.

MARLENA  
The trial is coming up soon.

JOHN  
He's gonna be declared incompetent,  
Doc, and he's gonna stay in Fair Oaks.  
You know that.  
(beat)  
This is about Brady, isn't it?

MARLENA  
I don't want him to think that I  
think Phillip is innocent.

JOHN  
He doesn't.

MARLENA  
Yes he does. And it's not true. I  
want Phillip to stand trial for what he  
did. I want him to face the consequences.  
And if I could just bring him back  
from this fantasy world he's immersed  
himself in, then he can truly take  
responsibility for what he's done.

JOHN  
Doc? Come home.

MARLENA  
(beat)  
All right. I'll see you soon.

She hangs up, glares at Phillip's file in frustration, then slams it shut and locks it in the filing cabinet.

EXT. DOT COM - NIGHT

Chloë stands waiting by the curb.

MIMI (O.S.)  
Hey, slut. Where's the boy toy?

Mimi approaches her.

CHLOË  
If you must know, Dr. Ruth, he's getting  
the car. What are you doing, walking  
the streets for a "date"?

MIMI  
Please. I'd starve to death as a hooker.  
My mom's coming to get me.  
(beat)  
Hey, look, about what we talked  
about before...

CHLOË  
It goes nowhere.

MIMI  
Of course! What I was going to say,  
before Raoul interrupted us, is that  
no matter what you feel when you're  
with him, it's what happens when you're  
not with him that counts.

CHLOË  
Meaning?

MIMI  
Meaning that no matter how you feel   
in the moment, if when you're not with  
him you have questions...well, that's  
your answer.  
(looks O.S.)  
There's my mom. See ya tomorrow.

CHLOË  
Yeah. Thanks.

Mimi departs. Brady approaches, but Chloë keeps looking toward Mimi.

BRADY  
More girl talk?

CHLOË  
Yeah. A little sage advice from   
Mimi Lockhart.

Brady puts his hand to her forehead as if checking her temperature. She laughs and bats his hand away.

BRADY  
Hey, it's early yet. Wanna go   
somewhere?

CHLOË  
I kind of feel like dancing.

BRADY  
Then dance you shall.

He offers his arm, she takes it, and they walk away.

EXT. THE BLUE NOTE - LATER

BRADY'S CAR is parked by the curb, with the top up. PUSH IN through the window to reveal Brady and Chloë in heavy make-out mode in the back seat.

INT. BRADY'S CAR - CONTINUOUS

Brady unzips Chloë's coat and starts to push it off her shoulders. Chloë struggles to speak.

CHLOË  
Brady, wait, stop!

Brady freezes.

BRADY  
What? What'd I do? Did I hurt you?

CHLOË  
No, it's not that. It's...I need air...

Brady sits up and looks at her with concern.

BRADY  
You having a flashback?

CHLOË  
Huh? No. No.

Brady looks puzzled. Chloë frowns at the floor.

CHLOË (CONT'D)  
We need to talk.  
(off his look)  
Not like that!

BRADY  
(nervous)  
Then like what?

CHLOË  
We need to talk about this, this thing  
we keep doing, this thing we can't stop  
doing. I need to know where you  
think we're going.

BRADY  
I...I don't think I understand the  
question.

CHLOË  
Brady, I'm a virgin.  
(beat)  
You knew that, right?

BRADY  
Well, I didn't...I mean I just...I  
figured, but I didn't...I mean...

CHLOË  
Well, I am. And I know you're a lot  
more experienced --

She stops when he laughs.

CHLOË (CONT'D)  
What?

BRADY  
You think I'm experienced?

CHLOË  
Well, you are, aren't you? You seem  
to really know what you're doing.

BRADY  
Um, thank you. But, I...I mean, yeah,  
I was at college, and there's stuff that  
happens in the dorms and at parties, but...  
(beat; confession)  
I've read a lot.

CHLOË  
Oh.  
(beat)  
Oh.

BRADY  
So there it is. There goes the last  
shred of my rakish, playboy reputation.  
Disappointed?

CHLOË  
No! Not at all.

BRADY  
Okay. So...you brought this up because...  
because...?

CHLOË  
Because I'm scared of doing something  
that I shouldn't.

BRADY  
Chloë, I would never do anything  
you didn't want to do.

CHLOË  
That's the problem. When I'm with  
you, there's nothing I don't want to do.

Stunned and elated, Brady starts to speak.

CHLOË (CONT'D)  
But I don't want to. And that's not  
because of you, it's because of it. I  
know I'm not ready for the consequences  
but at the same time I can't seem to...

She trails off, helplessly. Brady has to look away.

BRADY  
Why are you telling me this?

CHLOË  
Because I want you to know the  
kind of power you have, and I'm  
asking you not to use it.

Still gazing out the window, Brady nods. Chloë puts her hand on the seat between them.

CHLOË (CONT'D)  
Are we still okay?

He laces his fingers through hers. He looks at her with raw intensity.

BRADY  
We will always be okay.

They lean slowly toward each other, tension building, both of them trembling, moving toward a kiss, when Brady stops, their lips a hair's breadth from touching.

BRADY (CONT'D)  
But I have to take you home now.

Chloë nods, understanding. Brady climbs into the front seat.

INT. CHLOË'S BEDROOM - LATER

Chloë tiptoes into the room, closes the door, and flips on the light.

Nancy sits on the bed, scowling.

CHLOË  
Hi there?

NANCY  
Just tell me I'm not gonna find  
your bra in your pocket.

Chloë smiles sheepishly.

CHLOË  
It's not even midnight yet.

NANCY  
I know, but I waited up because  
I have some news.

CHLOË  
(beat)  
Bad news?

NANCY  
The folks from Julliard called.   
They've changed the dates of the  
late auditions, and they've given  
you a new appointment.

CHLOË  
And that's bad because...?

Nancy looks down.

TIME LAPSE: PREPARING FOR TRIAL 

Victor and Kate sit in BULLOCK'S OFFICE. The lawyer is explaining something to them. Kate takes Victor's hand and squeezes. After a moment's hesitation, he squeezes back.

Marlena stands at her BEDROOM MIRROR, putting on her earrings. John comes up behind her and gives her a reassuring hug.

Meanwhile Chloë, in HER ROOM, is receiving the same hug from Nancy. Chloë looks nervous onto nausea.

Phillip is in HIS ROOM AT FAIR OAKS, pulling on his suit jacket. He casts a glance at the security camera, sits on the bed, and bends over as if to retie his shoes. He slips the STAKE out from between mattress and frame and SLIDES it up his sleeve.

INT. BLACK PENTHOUSE - LIVING ROOM - DAY

Belle comes down the stairs to find Brady fidgeting on the couch.

BELLE  
Hey.

BRADY  
What time is it?

BELLE  
Almost eleven.

BRADY  
They ready yet?

BELLE  
Yeah. They'll be down in a sec.

BRADY  
This is killing me. Seriously. I'm  
about to go through the roof.

BELLE  
Okay, then, first, you stop it with   
the caffeine.

She swoops down onto the coffee table and snags his half-full mug before he can grab it.

BRADY  
I don't think this timing could be any  
crappier.

BELLE  
Well...no, it couldn't. But you'll  
manage.

Marlena and John come down the stairs. Brady springs up.

BRADY  
Good! Let's go!

JOHN  
Hold your horses, son. We haven't  
even had any coffee.

MARLENA  
This isn't going to go any faster  
if we rush to the courthouse.

Brady looks daggers at her. Belle steps in.

BELLE  
Hey, since Brady has to take his  
car anyway, he and I can head down  
there now and meet up with you later.

Marlena looks resoulutly away. 

JOHN  
I think that's probably best.

BRADY  
Thank you. C'mon, Tink.

He scoops his keys off the front table and storms out the door.

BELLE  
He'll be fine.

She follows him out the door. Marlena and John exchange concerned looks.

INT. SALEM COURTHOUSE - DAY

Brady and Belle enter. Brady looks around, then spots his target: ANDREW BAINES, the district attorney. He's chatting with a few other lawyers. Brady rushes up to him.

BRADY  
Hey, Mr. Baines.

BAINES  
Brady. Good morning.

BRADY  
I was wondering whether you've  
spoken to the judge yet, about that  
thing?

Baines looks annoyed. He turns to the lawyers.

BAINES  
Will you excuse me a moment?

He takes Brady by the arm and drags him into a private corner. Before he can speak, Brady leaps in.

BRADY  
Did you talk to him?

BAINES  
Yes, Brady, I explained the situation.

BRADY  
What did he say?

BAINES  
She said that she'll do what she can.

BRADY  
That's it?

BAINES  
That's all there is.

BRADY  
Mr. Baines, I don't think you get how  
important this is to Chloë. This is  
her last chance to get into Julliard  
this fall. She missed the first round of  
auditions because of what Phillip did,  
and I'll be damned if she misses this one.  
She has to be in Chicago at the Art  
Institute by 4:30 today or that's it!

BAINES  
Brady, I have no control over the court  
calendar. We asked for a continuance,  
and it was denied. And besides, I would  
think you'd want this over with as soon  
as possible.

BRADY  
Of course I do, but --

BAINES  
Well, then if we need Chloë here to  
testify we need her here to testify.   
Julliard will have to understand.

BRADY  
That's just great. Would Harvard  
Law have understood if you just  
couldn't make the LSATs?

BAINES  
(beat)  
I went to Salem State.

Brady cringes as Baines walks away. Belle approaches.

BELLE  
No luck?

BRADY  
Plenty of luck. All of it bad.

Just then, Chloë, Nancy, and CRAIG come around the corner. Brady rushes up to Chloë. They embrace wordlessly. He lets her go, and she smoothes her hair.

CHLOË  
I wanna go talk to the DA.

BRADY  
Just tried. No dice.  
(off her look; sotto voce)  
Hey, our kind makes our own miracles,  
remember? Something'll happen.

CHLOË  
That's kinda what I'm afraid of.

INT. THE COURTROOM - DAY

Brady, Chloë, Belle, Shawn, and most of the main players who were at Tuscany on New Year's Eve are sitting directly behind the prosecutor's table in the first few rows. Victor and Kate sit behind the defendant's table, opposite. No one looks across the aisles. 

The doors that lead to the holding cells swing open, and TWO LARGE BAILIFFS lead Phillip in. He's in handcuffs. He looks around and spots Chloë. Their eyes lock. Chloë's expression resembles a deer in the headlights. She's trembling. He smiles at her.

Brady puts an arm around Chloë and pulls her close. His look toward Phillip is murderous. Phillip looks from Chloë to Brady, and his face takes on a frightening blankness again. The bailiffs lead him to his seat. Brady continues to glare. Phillip looks away first. Satisfied, Brady looks to Chloë, who nods silently that she's okay.

THE JUDGE enters from her chambers. All rise.

LATER

Bullock and Baines are at the bench, conferring furiously with the judge. Brady looks furtively at his watch. It's 2:15. He leans over to Chloë.

BRADY  
(sotto voce)  
It's like they're doing it on purpose.

She shakes her head hopelessly.

CHLOË  
(sotto voce)  
It doesn't matter.

Brady looks at her in surprise.

Behind them, Shawn leans over to Belle, indicates his watch.

SHAWN  
(sotto voce)  
She's never gonna make it.

BELLE  
(sotto voce)  
I think it's time for Plan B.

SHAWN  
(sotto voce)  
I think you're right.

They stand and slip quietly down the aisle, out the door.

JUDGE  
Fine! Let the record show the  
defendant's name shall be listed  
as Phillip Victor Kiriakis. Now if that's  
the last of your petty little motions, the  
prosecution will call its first witness.

BAINES  
The prosecution calls Brady Black.

BRADY  
(sotto grumble)  
Brady Victor Black.

Brady takes his place on the stand. As he goes through the swearing-in, Chloë is momentarily distracted by movement on the defendant's side. She looks.

Phillip stares straight at her, smiling tenderly.

For a moment, she is mezmerized with fear. She swallows hard and turns back to the front of the room.

BAINES  
...in your own words, please, Brady,  
what happened on the night of  
December 31, 2001.

BRADY  
Phillip tried to kill Chloë.

Horrified GASPS and GRUMBLES from the crowd. The judge bangs her gavel.

JUDGE  
Order! Mr. Black! 

BRADY  
Sorry, your honor. I was just  
trying to make up for lost time.

JUDGE  
Please answer the question asked  
properly, stating only the events  
that you saw with your own eyes  
and refrain from editorializing on  
the defendant's intentions.

BRADY  
(bitter)  
Sorry, your honor.  
(to Baines)  
That night, half the town was at  
Tuscany celebrating New Year's Eve.  
My whole family was there, and Chloë's  
family, and Phillip was there. Just  
before midnight, Chloë and I stepped  
out on the balcony to be alone together.

He looks pointedly at Phillip as he says this. Phillip twitches.

BRADY (CONT'D)  
Midnight came around. I kissed her.

Phillip starts to bare his teeth.

BAINES  
Then what happened?

BRADY  
Well, I don't know exactly when,  
but at some point, Phillip came out  
on the balcony. I didn't see him. Chloë  
did. She screamed, I looked up, and  
I got a mouthful of his fist. I slid  
on the ice and went over the railing.

BAINES  
You didn't make any aggressive or  
threatening moves toward Phillip?

BRADY  
I didn't get a chance to.

BAINES  
What's the next thing that happened?

BRADY  
They tell me I was out for a few  
minutes. The next thing I remember is  
waking up in horrible pain --

BAINES  
Because...?

BRADY  
Because I'd just been pushed off   
the freakin' balcony.  
(off the judge's look)  
That is, my leg was broken, and I found   
out later I had a concussion. I woke  
up, and my dad and stepmom were  
there, and then my sister showed up   
and said Chloë was having trouble   
breathing. Then the cops and paramedics came.

BAINES  
Thank you, Brady.

He nods to Bullock, who remains seated.

BULLOCK  
Mr. Black, I take it from your  
testimony that you did not actually  
witness the alleged attack on Miss  
Lane?

BRADY  
I didn't see it, but --

BULLOCK  
You didn't. You claim you were  
unconscious a few feet away.

BRADY  
Ten feet below. Yes, I was out. But --

BULLOCK  
So you didn't see a thing. Thank   
you Mr. Black.

JUDGE  
You may step down.

Brady, seething, goes back to his place and takes Chloë's hand. John pats his shoulder.

JOHN  
(sotto voce)  
You knew they were gonna do that.

Brady nods, still upset.

Bullock stands.

BULLOCK  
Your honor, I'd like at this time to  
move that the charge of attempted  
murder be dropped.

More GRUMBLES from the crowd. Brady jumps up. So does Nancy.

BRADY  
What?!

NANCY  
You can't do that!

JUDGE  
Order! Mr. Black, ma'am, sit down  
and remain quiet.  
(to Bullock)  
What are the grounds for this motion?

BULLOCK  
The prosecution has no witnesses to  
the alleged attack on Miss Lane besides  
Miss Lane herself.

NANCY  
Half of Salem saw what he did!

JUDGE  
(to Nancy)  
Ma'am, one more outburst and I  
will throw you out!

BULLOCK  
We are willing to stipulate that Miss  
Lane would conceivably be a witness   
to the alleged attack on Mr. Black, if  
such an attack even took place, but Miss  
Lane's testimony alone is not sufficient  
to make the charge. The prosecution   
insists that a violent altercation took   
place on that balcony, but no one   
inside noticed it? It's absurd.

BAINES  
Your honor, we have medical  
corroboration that Miss Lane's injuries  
were due to strangling trauma. The   
bruises on her neck matched both the  
size and strength of Mr. Kiriakis' hands --

BULLOCK  
Or the hands of any other atheletic  
young man of his age, such as, for  
example, Mr. Black's.

Brady is about to roar out of his seat. Chloë pulls him back.

CHLOË  
(sotto voce)  
Stop it! They're trying to get us  
upset. Don't give them the satisfaction.

BRADY  
(sotto voce)  
They're trying to say I would hurt you.

CHLOË  
(sotto voce)  
But you wouldn't.

Her tender smile calms him a little. He settles and takes both her hands in his.

JUDGE  
I'm going to allow the charge to  
stand, but your motion will be  
noted for the record. Mr. Baines,  
the next witness?

BAINES  
The prosecution calls Miss Chloë Lane.

Chloë sways a little and closes her eyes.

Marlena scrutinizes Chloë as she makes her way to the witness stand. She notices Chloë's hands: they're shaking. There's a bead of sweat running down Chloë's neck. She stumbles as she tries to climb onto the stand. She stammers as she's sworn in.

MARLENA  
(sotto voce; to John)  
I don't like this.

BAINES  
Okay, Chloë. We've already heard  
Brady's version of what happened  
New Year's Eve. We'd like you to  
tell us what you remember.

CHLOË  
(stammers)  
We were out on the balcony...  
midnight...kissing....

She clears her throat and touches her neck as though it hurts. As she speaks, her voice is quiet and breaks, as though it is disappearing all over again.

CHLOË (CONT'D)  
I turned just to...I don't know why  
I turned, but h...he was there.

BAINES  
Phillip was there?

CHLOË  
Yes.

Her shaking is now visible to everyone in the room. Tears start down her face. Brady moves to the edge of his seat. Nancy touches his shoulder and they exchange a helpless glance.

BAINES  
Go on.

CHLOË  
I screamed. I was just startled at  
first, but...Phillip, he punched Brady  
in the face, and Brady fell. I tried to  
catch him...Phillip grabbed me.

BAINES  
Where did he grab you?

CHLOË  
(whisper)  
By the throat.

PHILLIP  
Chloë, no!

The whole room turns to look at him. The judge bangs her gavel, but everyone ignores it.

PHILLIP (CONT'D)  
You don't have to say this. You  
don't have to lie for them! Why are  
you lying? Please, please tell them  
the truth. Tell them I didn't hurt you.

CHLOË  
(to Phillip; whisper)  
You did.

JUDGE  
Order!

PHILLIP  
Stop it! Stop saying that!

Phillip JUMPS UP and tries to run for her, but a bailiff GRABS his shoulders. Brady JUMPS UP at the same time and RUSHES at Phillip. Phillip BREAKS free of the bailiff and runs SMACK into Brady. A SCUFFLE ensues. Chloë JUMPS UP and tries to reach them.

CHLOË  
(soundless)  
Stop!

The bailiffs run in to break things up, but not before PHILLIP, still cuffed at the wrists, SLIDES the STAKE out of his sleeve and JABS Brady with it.

Brady gasps. He stumbles to the ground. We can't see where he's hit.

Phillip runs for Chloë, who shrinks against the judge's bench. Phillip THROWS HIS ARMS over her and gets the stake positioned, with its point just beneath her ribs.

The room is in chaos. There's screaming. Only Chloë can hear Phillip say --

PHILLIP  
(whisper)  
Don't worry, I won't hurt you. It's  
just a trick.  
(yells)  
I want these cuffs off! NOW!

Chloë looks down at the bloody stake and says nothing. The crowd settles, more out of fear than calm. A bailiff approaches, slowly.

BAILIFF  
Okay, Mr. Kiriakis, I need you to  
put the stake down.

PHILLIP  
TAKE THESE CUFFS OFF! RIGHT  
NOW!

BRADY  
(weakly)  
Do what he says!

Brady rolls over. He's clutching his shoulder, which is bleeding, but not profusely. Chloë looks to him desperately, but he knows there's nothing he can do.

BRADY (CONT'D)  
Please do what he says.

Phillip POKES Chloë with the stake and she gasps in fear. He hasn't broken skin. Still, the bailiff seems to believe he's serious. He goes and unlocks the cuffs. They clatter to the ground. At that moment, Phillip GRABS the gun from the bailiff's holster and catches Chloë around the waist with his other arm.

PHILLIP  
Brady.

He puts the gun to Chloë's head.

PHILLIP (CONT'D)  
Give me your keys.  
(beat)  
GIVE ME YOUR KEYS!

Brady fishes them out of his pocket and tosses them to the middle of the floor. Phillip marches Chloë to them.

PHILLIP (CONT'D)  
(to Chloë)  
Pick them up.

They ease down together, and Chloë gets the keys. Brady watches intently, looking for an opening, but the gun is still poised. 

PHILLIP  
(loudly, to the room)  
If someone tries to stop us, she  
dies, understand?

Phillip backs her out of the courtroom and through the doors, which swing shut behind them.

Brady is instantly on his feet and after them. John tries to grab him.

JOHN  
Son, you're hurt!

BRADY  
I'm fine, Dad!

JOHN  
No you're not!

Brady stops and turns on his father.

BRADY  
That maniac is gonna kill her.  
You can help me or you can get  
the hell out of my way!

JOHN  
(beat)  
All right. We've got to follow close  
but we can't let him see us.

They run out of the room together, leaving the chaos behind them.

INT. PARKING GARAGE

Phillip has Chloë in a neck lock now, his right hand (with gun) swinging freely. He hurries her past a line of cars. They pass BRADY'S CAR. He ignores it and heads for a door labeled EXIT. As they pass through, he tosses Brady's KEYS down a GUTTER.

EXT. BEHIND THE COURTHOUSE - DAY

Phillip manhandles Chloë behind some bushes. 

FIVE POLICE CARS, sirens screaming, shoot past them. Phillip waits till the sound recedes, then takes Chloë's hand and starts running.

Chloë yanks her hand away and starts running in the other direction.

Phillip TACKLES her.

INT. PARKING GARAGE-CONTINUOUS

Brady and John rush for John's car. They jump in and take off. They don't notice that Brady's car is still in its spot.

EXT. BEHIND THE COURTHOUSE - CONTINUOUS

Phillip has Chloë pinned to the ground. He hurt her in the tackle and she's trying not to show it. She's struggling under him.

PHILLIP  
Stop it, Chloë, stop it!

Chloë lets out another soundless scream for help. 

PHILLIP (CONT'D)  
What the hell is your problem?

They both look up as JOHN'S CAR ROARS out of the parking garage. 

Chloë reaches toward it hopelessly

She cries Brady's name with no sound.


	7. Ends

PART VII

ENDS

We see

TIRES SPINNING ON ASPHALT. Pan up to reveal

EXT./INT. SHAWN'S TRUCK - DAY

He's driving fast. He and Belle both wear looks of grim determination. Belle has a BOOM BOX and A FOLDER FULL OF NEWSPAPER CLIPPINGS in her lap.

They pass a sign: CHICAGO, 31 mi.

BELLE  
This had better work.

SHAWN  
It will work.

BELLE  
What if they won't let us in?

SHAWN  
Well, then I might just have to kick  
some Opera Guy ass.

BELLE  
Shawn!

SHAWN  
Any means necessary, Belle.

INT./EXT. JOHN'S CAR - CONTINUOUS

John drives, Brady fumes.

JOHN  
Where would he go?

BRADY  
Christ, Dad. Like I'm supposed to   
understand how his mind works?

JOHN  
You'd better hope you do.

BRADY  
Okay, obviously, he might go home. Big  
place, lots of good hiding spots. But  
he might just be sane enough to realize  
that's the first place the cops'll look.

JOHN  
Where else?

BRADY  
Uh...Salem Park. Lots of memories,  
lots of secret corners.

JOHN  
But very public.

BRADY  
The guy is nuts, Dad.

JOHN  
It's on the list. Where else?

BRADY  
Tuscany? Scene of the crime?

JOHN  
A crime he doesn't remember.

BRADY  
Look, I don't freakin' know, Dad! I'm  
grasping at straws here! He's got a gun,  
he's got my car, and he's got a two   
minute head --

Brady FLASHES ON the parking lot, passing the Jeep still parked there.

BRADY (CONT'D)  
(dazed)  
...start...

JOHN  
What is it?

BRADY  
Turn around.

JOHN  
What? Why?

BRADY  
He didn't take the car.

JOHN  
What?

BRADY  
The car! It was still there! Crap. Crap!  
Turn around!

JOHN  
You're sure?

BRADY  
Yes, Dad, I'm positive! Turn around!

JOHN  
Okay, okay!

John cuts a sharp U-turn in the middle of the street. HORNS BLARE at him as he takes off back toward the courthouse.

EXT. BEHIND THE COURTHOUSE - CONTINUOUS

Phillip and Chloë are as we left them. He has her pinned to the ground.

PHILLIP  
What the hell is wrong with you?

CHLOË  
(whisper)  
Please get off me.  
(beat; whisper)  
You're hurting me.

Phillip scrambles off her. He's still got her wrist in a death grip.

PHILLIP  
I'm sorry. I didn't mean to....  
(beat)  
I just...I had to....

Phillip looks up at the sound of a passing car. He drags her to her feet.

PHILLIP (CONT'D)  
C'mon. It's not safe here.

He runs. She stumbles to keep up.

EXT. THROUGH THE ALLEYS - CONTINUOUS

Phillip and Chloë dart through the back streets, past unfamiliar, run-down buildings.

EXT. RIVERFRONT - CONTINUOUS

Phillip and Chloë are still running, stumbling on the sand. Phillip is finally tiring, and his grip loosens. Chloë YANKS her wrist away but Phillip SPINS on her and the gun is at her forehead.

Chloë regards the gun numbly.

Breathing hard, she sits on the sand.

Phillip lowers the gun.

PHILLIP  
You okay?

She shoots him a poisonous look.

He tries to take her arm again.

PHILLIP (CONT'D)  
C'mon. This is still too --

CHLOË  
(loudly)  
NO!

This actually sends Phillip reeling back in shock. He looks at her. He looks at the gun.

PHILLIP  
Oh...God...what...?

Chloë stands slowly. She backs away a little. Phillip looks at her in confusion. She freezes.

PHILLIP (CONT'D)  
What did I do?

His expression changes suddenly. He points the gun at her.

PHILLIP (CONT'D)  
What did you do? Brady told me. He  
told me what you were doing with him.

CHLOË  
(quiet fury)  
You tried to kill me.

PHILLIP  
Stop saying that!

CHLOË  
Look at yourself, Phillip! Look at   
what you're doing!

Phillip lowers the gun a little.

PHILLIP  
I had to! I had to talk to you, to be  
alone with you. There's all this stuff  
going on and I don't understand any  
of it. All these things people are  
telling me, they don't make any sense.  
And Brady kept coming to see me and  
saying all these things, all these disgusting  
things about you. Then one night,  
he made me so mad I put a chair  
through him!  
(beat)  
Like, through him. That's when I  
realized maybe...maybe I couldn't  
trust myself. I couldn't trust what  
I saw or heard or remembered or  
anything. There was only one thing   
I could still believe in.  
(beat)  
You.  
(beat)  
All that time, I never saw you.  
I know you're not in my head. I know  
you're real. You're my one true thing.   
Like always.

He lowers the gun and steps toward her, oblivious to her angry expression. He reaches up, strokes her hair.

CHLOË  
What do you want me to say?

PHILLIP  
Please, just...tell me the truth.

CHLOË  
The truth?  
(beat)  
You've turned into a monster.

EXT. THEATER - ART INSTITUTE OF CHICAGO - EVENING

Shawn and Belle dash up the steps with their gear.

INT. THEATER - CONTINUOUS

In the semi-dark theater, two men (ALFONSE, 40-ish, and JAMESON, near 60) and one woman (HOLT, mid-40s) confer in the seats, shuffling papers. The stage is lit but empty.

JAMESON  
Is that it, then? I thought we had  
another one.

ALFONSE  
We did. "Chloë Lane." A no-show.

HOLT  
This is her second no-show, isn't it?

ALFONSE  
(checks file)  
I believe you're right. Some kind  
of medical problem.

JAMESON  
Well, then, I say we go back to  
the hotel and make the final  
decisions over room service.

HOLT  
Sounds perfect.

SHAWN (O.S.)  
Excuse me! Excuse me!

He and Belle come running down the aisle.

ALFONSE  
(skeptically)  
Can we help you?

SHAWN  
(out of breath)  
We're here for the auditions.

HOLT  
(to Belle)  
Are you Miss Lane?

BELLE  
Me? Oh, gosh no!

They put their things on the table in front of the three professors. Shawn points at the boom box.

SHAWN  
This is Chloë Lane.

The three exchange exasperated looks.

ALFONSE  
I'm afraid taped auditions are not  
acceptable. It's Julliard's policy --

BELLE  
We understand that, but this is  
a special circumstance --

JAMESON  
Young lady, I'm sure it is a very  
special circumstance to you, but  
if we make an exception in one case --

BELLE  
You don't understand --

SHAWN  
Just hear us out! Look at these!

He opens the folder and displays the clippings. They have headlines like: "NEW YEARS EVE VIOLENCE," "KIRIAKIS HEIR ARRESTED," "LOCAL DIVA'S RECOVERY STRUGGLE," etc.

SHAWN (CONT'D)  
The only reason Chloë isn't here is  
because she's in court this very  
minute testifying against the guy  
who attacked her.

BELLE  
The guy who almost destroyed her  
voice. Please, please, you've got  
to believe us. Going to Julliard is the  
only thing in the world she's ever  
wanted. It's her dream. Phillip  
tried to take it away from her. Don't  
you take it away a second time.

ALFONSE  
(slowly)  
I'm sorry, but --

BELLE  
Okay, if you can't accept her based  
on the tape, can you at least listen   
to it. 'Cause once you hear it, you're   
gonna want to hear her in person. I   
know you will.

SHAWN  
Yeah! And wherever you want her  
to be, whenever you need her, we'll  
get her there. We'll get her to New  
York or Djibouti or wherever. Just...  
just listen. Just for a minute.

The three look up from the clippings and at each other, more sympathetically this time. Holt and Alfonse seem to look to Jameson for a decision.

He reaches toward the boom box.

His finger is poised over "PLAY."

SHARP CUT TO:

EXT. RIVERFRONT - EVENING

Chloë's fury is written all over her face. She takes a threatening step toward a shocked Phillip.

CHLOË  
Did you hear me? Did you hear  
what I said? I said you're a monster.

Phillip starts backing away. She follows.

CHLOË (CONT'D)  
You tried to take my life, my voice,  
my freedom, my self-respect....  
You're an animal.

PHILLIP  
Chloë, I never --

CHLOË  
You always. You wanted to own me,  
to control me, probably 'cause you  
couldn't control anything else in your  
screwed-up life. You wanted a slave,  
someone to serve you, someone you  
could punish!

PHILLIP  
I loved you! I still love you!

CHLOË  
(quiet)  
You bastard. You actually believe  
that.

PHILLIP  
Chloë --

She hauls back and HITS him, hard, in the face. He staggers.

CHLOË  
You bastard!

She swings again. He dodges. He brings the gun up and is TACKLED by a flying Brady. The GUN GOES OFF.

CHLOË (CONT'D)  
NO!

She lunges for them. John comes racing down the shore behind.

INT. COURTHOUSE - CONTINUOUS

Victor sits alone in the darkened courtroom. 

VICTOR  
I don't understand.  
(looks up)  
I don't understand what you  
want of me. I have tried to change.  
I have tried reform my life.   
But at every turn, you punish   
me. I spent so much of my life   
striving for money, for power, for  
things, and then you showed me,  
through my beloved Isabella,  
the error of my ways. You showed  
me by taking her away.  
(beat)  
Perhaps I deserved it then. I took  
that lesson to heart. I have been a  
good father, to Phillip and Bo, a  
good stepfather to Lucas, Billie,   
Austin. I've made peace with John  
and the others. And still...and still  
you punish me.  
(beat; stands)  
I'm tired now. Tired of playing by  
your rules.  
(beat)  
I don't think I'll play anymore.

He turns and begins to leave the courtroom. KATE enters.

KATE  
Oh, there you are, Victor! No one  
can find them. I'm so --

Victor GRABS her arms roughly. He looks hard, searchingly into her eyes.

KATE (CONT'D)  
(nervous)  
V...Victor?

VICTOR  
You still want back in?

KATE  
To your life? Of course I do.

He gives her a long, hard once-over. 

VICTOR  
I'm going to go clean up this mess.  
Then, if you want me...you can  
start earning it.

He releases her and walks out.

EXT. RIVERFRONT - EVENING

As John runs to reach the fray --

PHILLIP (O.S.)  
No!

John pulls up short, hands raised.

ANGLE ON the kids. Phillip's got Chloë around the neck again, gun to her head. He stands slowly. Brady watches them, frozen. All three of them are spattered with BLOOD. Someone was hit, but whom?

PHILLIP (CONT'D)  
You get -- the hell -- AWAY from  
us. You're not REAL. You can't DO  
this. You're NOT REAL!

He backs up, dragging Chloë. He starts running toward --

EXT. RAILROAD BRIDGE - CONTINUOUS

Phillip drags Chloë along the tracks, high above the rushing Salem River. Brady and John follow at a distance. He whirls on them as they approach, points the gun at them.

PHILLIP  
I said GO AWAY!

BRADY  
Phillip --

CHLOË  
(choking)  
Phillip --

He looks at her. 

CHLOË (CONT'D)  
Phillip, there's no one there.

He looks from her to Brady and John, confused, scowling.

Chloë slowly turns in his grasp to face him. She puts her hands on his chest, comforting, intimate. His arm loosens, falls to her shoulders, an embrace.

CHLOË (CONT'D)  
There's nobody here but us.  
It's just us. We're alone.

PHILLIP  
But --

CHLOË  
They're not real. It's okay.

Brady and John watch in amazement as Phillip lowers the gun. He searches her face, wanting to believe.

PHILLIP  
I...I don't know what's happening  
to me.

CHLOË  
I know. It's hard. But...you trust me?

PHILLIP  
I...Brady said...

He's mesmerized by her. Brady creeps closer.

CHLOË  
Brady's not here. He's not real.  
It's just you and me now. For  
good this time.

PHILLIP  
Really?

CHLOË  
Yeah.

PHILLIP  
Promise?

Chloë hesitates. Phillip sees Brady out of the corner of his eye and brings the gun up, eyes blazing. He squeezes the trigger, but Brady KICKS the gun out of his hand as it goes off. Chloë breaks free as the boys lunge for each other.

She stumbles into John's arms but turns to look at the fight. John touches her shoulder, then pulls his hand away, shocked. It's covered in blood.

There's a bullet hole in Chloë's shoulder. 

She doesn't seem to notice. John searches frantically in his pocket for a handkerchief.

CHLOË  
Mr. Black, stop them! Do   
something!

JOHN  
Stay still, Chloë. I....

Then Phillip HITS Brady in the face and Brady STUMBLES to the edge of the bridge, GRABS the girders to keep from falling off. Phillip LUNGES for him and Brady GRABS his tie and SWINGS him into the girders. Phillip FALLS to the tracks and Brady JUMPS on him. Phillip SHOVES him off. They GRAPPLE with each other's shoulders and FALL against the girders, and Phillip FALLS THROUGH THEM, still holding Brady. Brady is PULLED through the girders and DISAPPEARS over the side.

CHLOË  
(screams)  
NO!

Chloë breaks from John's grasp and rushes to the edge of the bridge. 

Brady is holding on by one hand. 

Phillip is gone.

Chloë lies on her stomach and grabs Brady under the shoulders. She CRIES OUT, the pain of her wound finally hitting her.

BRADY  
Chloë, you're --

CHLOË  
Don't let go. Don't you let go!

John rushes over and lends his strength, but he can't haul Brady up, and Brady doesn't have the strength to climb.

BRADY  
Chloë, I'm so sorry. I'm so sorry  
I couldn't protect you --

CHLOË  
Shut up! Don't you start saying  
goodbye to me!

BRADY  
I can't --

CHLOË  
I am not letting you go!

The three remain balanced precariously on the edge of the bridge as the sound of APPROACHING SIRENS reaches them.

EXT. NEAR THE BRIDGE - NIGHT

A PARAMEDIC closes an AMBULANCE door, revealing Belle and Shawn behind it.

BELLE  
So much blood. I've never seen  
so much blood.

SHAWN  
Hey, come on. They'll be okay.

BELLE  
I know, I know, it's just...they  
almost weren't. And all of it...  
Phillip....

SHAWN  
Don't you think about him.

BELLE  
But what if --

SHAWN  
Hey, hey! The cops have been  
dragging the river for hours. There's  
no sign of him, Belle. He's gone.   
For good.

Belle scowls at him, shakes her head.

BELLE  
How long have you lived in this  
town, Shawn? The bad guys  
always come back.

Shawn sighs and leads her toward his truck as MUSIC OVER begins. It's Chloë, singing Cole Porter's FROM THIS MOMENT ON.

BEGIN MOS 

OVERLAP TO:

INT. DARKENED THEATER - JULLIARD SCHOOL 

Alfonse, Jameson, and Holt watch the stage intently, taking notes, making comments to each other, and nodding.

Behind them, in the very back of the theater, Shawn, Belle, and Brady are sitting, looking scared but elated.

Belle grabs Brady's hand and squeezes. He smiles at her.

On stage, Chloë is singing her heart out and smiling that electric smile.


	8. Renaissance

PART VIII

RENAISSANCE

INT. WOOD-PANELED ROOM - DAY

CU shots:

Belle giggles.

Shawn chuckles.

Brady scowls.

BELLE  
It's...fine, really.

She and Shawn BURST into laughter. Shawn is actually clutching his stomach. Belle is dressed up in a PRINCESS COSTUME. Shawn is likewise dressed like ROBIN HOOD. They're in tears, clutching each other for support.

BRADY (O.S.)  
Oh, yeah, this is a scream.

Reveal Brady in a JESTER'S COSTUME, complete with bells on his pointy shoes and the long points of his three-coned cap. The breeches are way too short for him, exposing hairy calves and knees between pants and shoes. His scowl goes blacker, eyes narrowed. This makes the other two laugh even harder.

BELLE  
(gasping for breath)  
No, it's...really...you look....

She can't do it. She's laughing again. Brady rips the hat from his head and tosses it on the floor.

SHAWN  
No, dude! Don't do that! The  
cap makes that outfit! It's stylin'!

BRADY  
Oh, ha ha!

BELLE  
Not one word, not one word outa you,  
Mister I-Don't-Need-An-Alarm-Clock!  
It's your own fault. If we'd gotten here   
first thing there might have been something  
else that fit you. You are stuck with it,  
oh brother o' mine. 

BRADY  
I'm not going out there like this.

BELLE  
Oh yes you are!

BRADY  
Oh no, I'm not!

BELLE  
Oh yes, you are!

BRADY  
Oh no, I'm --

SHAWN  
Guys, guys! Come on! We're gonna  
miss Chloë's show. Just wear the  
thing, Brady....Chicks dig funny guys.

Brady starts to make a biting comment, but stops, distracted by the sound of SINGING drifting through the window. He moves slowly toward the door, as if pulled by the sound. His smile grows.

EXT. VILLAGE SQUARE - SALEM RENAISSANCE FAIRE - DAY

Chloë drifts through the crowd, singing a madrigal tune, to the delight of passersby. She's dressed in gypsy garb, barefoot, her hair flowing free and wild around her head. She's carrying a LARGE BASKET over one arm, steadying it with the other. She heads right toward the

COSTUME RENTAL BOOTH

Where Brady, his silly clothes forgotten, stands in the threshold at the top of the stairs, smiling at her. 

At the foot of the stairs, Chloë ends her song, stops, and looks at him. She blinks.

CHLOE  
'Zounds, m'lord! Why wear thee  
such strange attire?

Brady shoots an acid look over his shoulder to Belle and Shawn.

BRADY  
Two scoundrels, fair maid. They  
have stolen my fine raiment and  
replaced it with these motley threads.

CHLOE  
(to Belle and Shawn)  
For shame, you blackguards!

Belle and Shawn lean out the window and laugh.

CHLOE (CONT'D)  
(to Brady)  
Well, m'lord, 'tis fortunate for you  
that I should happen along. I have  
in my basket succor for thee.

BRADY  
Indeed?

She holds the basket out to him. He comes down the stairs and takes it, and he is staggered for a second by its weight. Surprised, he puts the basket down and pulls the cloth that hides its contents away. His eyes widen.

BRADY (CONT'D)  
Now that's what I'm talkin' about!

MONTAGE: THE FAIRE

ON THE THOROUGHFARE Belle and Shawn stroll happily, arm in arm. Belle points out something and they run off, revealing Brady and Chloë behind them. Brady is now in CHAIN MAILLE and swaggering like a peacock with Chloë on his arm. They follow the others.

AT THE GAMING BOOTHS Brady and Shawn are trying their skill at crossbows with suction-cupped arrows, posing and bragging while the girls roll their eyes and laugh.

AT ANOTHER GAME Belle and Chloë WHACK each other with hay-filled sacks while sitting cross-legged on a log. Bell HOISTS her sack for a huge blow and overbalances, FALLING off the log. Chloë raises her arms in victory and FALLS OFF too.

AT THE FOOD COURT all four sit at a picnic table and chow down on food-on-sticks. Chloë wipes sauce from Brady's cheek. He wipes some onto her nose, and she shoves him off the bench.

BELLE sits patiently, having an elaborate floral design painted over her eye and down her cheek. Shawn watches her, arms folded and smiling. Brady looks at them, WHISPERS to Chloë, takes her hand, and they sneak off.

EXT. A WOODED GLADE - CONTINUOUS

Brady leads Chloë into the secluded clearing. Light filters gold and green through the leaves, dappling their skin. The sounds of the faire are distant. Somewhere, A FLUTE trills happily. 

Brady stops in the middle of the clearing and takes her face in his hands. After a long, still moment of staring into each other's eyes, Chloë smiles.

CHLOE  
M'lord?

BRADY  
My lady.

CHLOE  
Nay. Yours for certs, but a  
humble peasant I. No lady.

BRADY  
Thou liest. I know what thou art.

CHLOE  
Indeed?

BRADY  
Thou art princess, nay, queen of  
the wild west wind, running free  
and untamed!

Chloë laughs and leaps into his arms, and they tumble to the ground kissing.

CHLOE  
Thou honey-tongued rapscallion!  
Thou woulds't make me weak with words.

BRADY  
Nay, love! I speak true...but if I  
have to translate one more word into  
this Shakespeare crap my head  
will, in fact, explode.

CHLOE  
Wouldn't want that.

BRADY  
Definitely not. Why ruin a perfect  
day with head explosion?

CHLOE  
Perfect, huh?

BRADY  
Yeah. It really is.  
(beat)  
It's like everything bad is behind  
us, everything good is ahead of  
us, and there's nothing to be  
afraid of....  
(beat)  
...except --

CHLOE  
Brady....

BRADY  
I can't help it. I just...I want to  
freeze us here, in this place, this  
moment. I...I'm scared. I admit  
it. I'm afraid that when you go --

CHLOE  
Brady, you can't live your life   
being afraid of the future, 'cause  
it's gonna be here soon no matter  
what you do. You just have to  
think, look how much better things  
are now than they were a year  
ago, or two years ago. I believe  
that no matter what happens, it's  
all gonna be okay.

BRADY  
Really? What turned you into  
such an optimist?

In reply, she kisses him. As things become intense, we hear VOICES and FOOTSTEPS in the distance.

VOICE 1  
I say, where be the saucy wench?

VOICE 2  
Mayhap she's found herself a  
handsome knight and kicked his  
feet out from beneath him!

VOICE 3  
'Twould be very like her!

CHLOE  
(to voices)  
Hey, now, take that back!

Three costumed, laughing WOMEN, burst through the trees and haul Chloë off Brady. They drag her off amid laughter and protests.

MUSIC BEGINS OVER: A four-part harmony, madrigal tune.

OVERLAP TO:

EXT. MAIN THOROUGHFARE - LATE AFTERNOON

A sign above a set of stairs reads: 

THISTLEDOWN THEATRE  
"The Four Winsome Wenches"  
LAST PERFORMANCE 4 PM TODAY

MUSIC CONTINUES as we

OVERLAP TO:

EXT. THISTLEDOWN THEATRE - CONTINUOUS

In a small, open-air theater-in-the-round, Chloë and the three women from above are singing and performing, dancing, flirting with the audience, etc. The tunes are light and bawdy.

Brady, Belle, and Shawn are in the seats, watching, smiling, laughing.

Chloë sends a broad wink to Brady.

MUSIC CONTINUES as we

OVERLAP TO:

EXT. RIVERFRONT BEACH - NIGHT

The Wenches' song turns into BONGO DRUMS and CHANTING, and it seems like the ENTIRE CAST of the faire, a few dozen people mostly in their late teens and early 20s, are sitting or dancing around a bonfire on the sand. They're in civvies now but still in performance mode; now they're trying to outdo each other. Acrobats tumble, jousters spar, musicians play, and dancers dance.

Chloë and Brady are among them, chatting, laughing, dancing.

Shots of the fun: fencing, juggling....

Chloë whispers to Brady. He nods.

More shots: instead of medieval dance, a handful of performers have broken into stomp, still to medieval music.

Chloë leads Brady by the hand away from the light of the fire.

EXT. FURTHER DOWN THE BEACH - CONTINUOUS

Chloë and Brady find a secluded spot. Chloë takes the BLANKET she's been carrying over her arm and spreads it in the sand. With a twirl, she places herself on it and opens her arms to him. He falls into them obediently.

BRADY  
Okay, Miss Winsome Wench, why  
did we leave such a rockin' party?

CHLOE  
Why do you think?

She kisses him. It goes on for a while, then he pushes away.

BRADY  
Whoa, whoa, whoa. 

CHLOE  
What?

BRADY  
Here be dragons, remember?  
This was the alone we were gonna  
stop being 'cause of the will power  
we didn't have to stop other things.

CHLOE  
I know.  
(beat)  
Maybe I don't want to stop.

BRADY  
You...  
(beat)  
I...  
(beat)  
The...  
(beat)  
We...  
(beat)  
Maybe?

CHLOE  
I don't want to stop.

BRADY  
(beat)  
Oh my God. They're gonna kick  
me out of the guy club for asking  
this, but...are you sure?

CHLOE  
Why wouldn't I be?

BRADY  
Well, a couple of months ago  
you weren't so...and besides,   
what about --

CHLOE  
Taken care of.

She takes a few condoms out of her pocket and tosses them on the blanket. He stares, dumbfounded.

BRADY  
You planned this?

CHLOE  
(beat)  
Are you mad?

BRADY  
I just...what changed, Chloë?  
What's the difference between  
now and then, that...'cause if  
you think you have to do this  
to hold on to me while you're  
gone you don't --

CHLOE  
That's not it at all. What's changed  
is me. What's changed is that a  
couple of months ago we nearly died --  
(he tries to interrupt)  
Shut up and let me finish. What's  
changed is that now I know what to be  
afraid of, and this isn't it. I don't  
have any fears anymore, Brady. No  
doubts, no questions, no regrets. No  
matter what happens when I go to  
New York, this time, here, now...  
this is perfect. Like you said.   
There's no question in my mind that  
this is what I want. You.

BRADY  
(beat)  
I love you, Chloë Lane.

CHLOE  
Then make love to me, Brady Black.

Brady kisses her intensely. Not needing to be told three times, he begins removing her clothing.

This is followed by a tasteful, TV-14-appropriate MONTAGE of their lovemaking. With each shot, the camera pulls further away, until we realize we are peering through BEACH GRASS and the MUSIC changes to a single, ominous note.

VICTOR (O.S.)  
You see?

EXT. IN THE BEACH GRASS - CONTINUOUS

Victor stands beside Phillip, both hidden in the foliage, both watching (ICK!) the couple on the beach. We can't tell if Phillip is about to cry or to explode in fury. 

Victor places a gentle hand on his arm.

VICTOR (CONT'D)  
You need to forget her, son.

Phillip continues to stare, while Victor frowns at him. 

VICTOR (CONT'D)  
It's time to go.

Nodding, Phillip tears his eyes away from the scene and follows his father off into the darkness.

INT. JOHN'S OFFICE - BASIC BLACK - DAY

John looks up from his work as a PIECE OF PAPER flutters onto the desk in front of him. He picks it up, reads quickly, frowns at its deliverer.

JOHN  
Letter of resignation.

Brady smiles. He sits in a chair opposite.

JOHN (CONT'D)  
What brought this on?

BRADY  
Dad...I'm going to New York.

John sighs. 

BRADY (CONT'D)  
I know what you're going to say.

JOHN  
Well, apparently it needs repeating.

BRADY  
This isn't about her.  
(off John's look)  
Okay, it isn't just about her.

JOHN  
What is it about, then?

BRADY  
It's about letting go of the past.  
Dad, I came back to Salem 'cause  
I was afraid to grow up. I didn't  
know how to survive away from  
you and Tink and even Marlena.   
I didn't know who I was or who I  
wanted to be...I wasn't ready.

JOHN  
And now you are?

BRADY  
And now I'm ready to find out. It's finally  
time to cut the apron strings, hop the   
fence, leave the nest, heck, pick your  
own metaphor, I don't care. I just...  
I have to do this.

JOHN  
I wish I could believe this wasn't  
about Chloë.

BRADY  
Dad, Chloë and I...it was such a long  
shot that we'd ever get this far, that  
we'd find each other and be able to make  
something out of all the pain and the mess  
and the fear and...I mean, would it be so  
bad if it was just about her?

JOHN  
It would be jumping from one  
nest into another.

Brady has no good response to this. He looks away, scowling.

JOHN (CONT'D)  
I just don't want to see you two  
rushing into anything.

BRADY  
What about "he who hesitates  
is lost?"

John rolls his eyes. 

BRADY (CONT'D)  
I think...whatever happens between  
Chloë and I, now is the time to  
figure it out. Now is the time to  
try. If I don't take this risk  
now, I may never be brave enough   
to do it again.

JOHN  
(beat)  
You know, if anything happens,  
you're always welcome back here.

Brady smiles.

MUSIC BEGINS OVER ["Everlong" (Acoustic), sung by Kyle, not the Foo Fighters.]

EXT. CHLOE'S HOUSE - DAY

Brady packs one last bag onto the teetering pile in the back of the JEEP. He steps out of the way to reveal Chloë, biting her lip, watching him.

He goes to the passenger door, opens it, holds out his hand.

She smiles. She takes his hand. He helps her into the car and shuts the door.

Nancy and Craig stand on the steps. Nancy is near tears. Craig puts an arm around her and squeezes.

The jeep takes off down the road and disappears into the distance.

FADE OUT

THE END


End file.
